[Candrama] Stanislavsky and Opera - 31st October, online seminar

[Paul Fryer]

*Stanislavsky and Opera:*

*Reflections on the Critical Relevance of Stanislavsky’s Opera Pedagogies*

An online seminar presented by the *S Word* in partnership with the 
*University of Malta.*

*Date:Thursday, 31 October 2024*

*Time:17:30–19:30 (London)*

*18:30 – 20:30 (Malta, Rome, Brussels)*

*10:30–12:30 (Los Angeles)*

*13:30–15:30 (New York)*

*Zoom link: https://universityofmalta.zoom.us/j/94921995406 
<https://universityofmalta.zoom.us/j/94921995406> *(this is a free event 
and registration is not required)*.
*

In May 1922, Stanislavsky staged his first full opera production, 
Tchaikovsky’s /Eugenie Onegin /in a relatively small room at his home in 
Leontyevsky Lane. Contemporary documents suggest that, although the 
staging was modest in scale compared to what would have been produced in 
larger opera houses in Russia and elsewhere, the event was nonetheless 
successful. Pavel Rumyantsev, a young baritone studying with 
Stanislavsky at the time, reports that the opera contained in miniature 
all the essential elements of a complex theatrical production. Until his 
death in 1938, Stanislavsky continued to stage at least one opera every 
year. Yet, despite this constant and uninterrupted engagement with the 
art form at both aesthetic and pedagogical levels, English-speaking 
academia has seldom engaged critically with this aspect of 
Stanislavsky’s activity which ran parallel to his work in spoken 
theatre. As Sharon Carnicke and David Rosen put it, Stanislavsky’s 
operatic pedagogies are left as ‘a mere footnote in the many theatre and 
music histories […] favouring instead his directing and acting of spoken 
plays [...] largely ignoring [...] how Stanislavsky's interest in music 
influenced the development of his theories’ (in R. A. White,/The 
Routledge Companion to Stanislavsky/, 2014: 120–21).

The online seminar seeks to discuss the relevance of engaging with the 
work that Stanislavsky conducted on opera with the aim to initiate a 
more in-depth critical debate around the pedagogies that emerged from 
this work.

A panel of speakers, each intervening to briefly expand on the relevance 
that further critical engagement with Stanislavsky’s operatic pedagogies 
could have on their respective field of research and practice, includes: 
opera and Stanislavsky scholar and editor of the /Stanislavsky and/ … 
series *Professor Paul Fryer*, opera-singer *Soprano Tatiana Lisnic*, 
music and opera critic, and curator of the international programme of 
the Golden Mask Festival *Anton Fleurov*,**opera and music-theatre 
scholar *Professor Nicholas Till*, actress, director, teacher and 
Stanislavsky scholar *Professor Bella Merlin.*

The online seminar will be introduced and convened by *Dr Mario Frendo* 
author of ‘Towards a Pedagogical Vision for Opera: The Musico–Dramatic 
Text and Stanislavsky’s 1922 Staging of /Eugenie Onegin/’ in Aquilina, 
S. (ed.) /Stanislavsky and Pedagogy/, Routledge, 2024).

This free event is part of the */Stanislavsky And.../ *project 
(published by Routledge, Taylor & Francis).

-- 
Prof. Paul Fryer PhD, FRSA, FHEA.
Visiting Professor, School of Performance and Cultural Industries, University of Leeds.
Visiting Professor, School of Arts and Creative Industries, London South Bank University.
Hon. Visiting Professor, School of Arts and Digital Industries, University of East London.
Co-Director, The Stanislavsky Research Centre.
Founding Editor, Stanislavski Studies and Series Editor, Stanislavsky And...(Routledge/Taylor & Francis).
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