Stanislavsky and Pedagogy explores current thinking around the pedagogical implications of Stanislavsky’s work, depicting the voices of a number of practitioners, teachers, and scholars who are themselves journeying with Stanislavsky.
Stanislavsky and Pedagogy explores current thinking around the pedagogical implications of Stanislavsky’s work. The volume depicts the voices of a number of practitioners, teachers, and scholars who are themselves journeying with Stanislavsky, and who in his work find a potent instigator for their own pedagogical practice and study.
This book outlines instances in which updated interpretations of Stanislavsky’s pedagogy are adapted to cater for contemporary needs and scenarios. These include the theatre industry, new digital technologies, the need to develop playfulness, application to a broad repertoire, performance as pedagogy, university managerialism, and interdisciplinary crossovers with dance and opera. The pedagogies that emerge from these case-studies are marked by fluidity and non-fixity and help to underscore the malleability of Stanislavsky’s system.
Stanislavsky And...
is a series of multi-perspectival collections that bring the enduring legacy of Stanislavskian actor training into the spotlight of contemporary performance culture, making them ideal for students, teachers, and scholars of acting, actor training, and directing.
Introduction
Stefan Aquilina
1. Teaching Stanislavskys Core Approach of Action, Imagination, and
Experiencing: And Why It Is Still Relevant for Acting Students and
Professionals
John Gillett
2. Stanislavsky and the Pedagogy of Play
Hilary Halba
3. When Actors Become Birds: Re-Envisioning Pedagogical Frameworks in the
Rehearsal Space
Julia Listengarten and Christopher Niess
4. Framing Stanislavsky: Online Pedagogies in the Zoom Era
Bella Merlin
5. A Slice of Zoom Life: Transforming Actor Training in a Global Pandemic
David Shirley
6. Stanislavsky Dances Argentine Tango: Actionable Knowledge on Co-Actor
Connection
Elien Hanselaer
7. Towards a Pedagogical Vision for Opera: The Musico-Dramatic Text and
Stanislavskys 1922 Staging of Eugene Onegin
Mario Frendo
Stefan Aquilina is an Associate Professor in Theatre Studies at the University of Malta, Co-Director of the Stanislavsky Research Centre, and Editor-in-Chief of the Stanislavski Studies journal. He has published extensively on modern theatre (especially Stanislavsky, Meyerhold, and amateur theatre), the transmission of embodied practice, and reflective teaching.
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