Stanislavsky in the World the System and its transformations across continents

Stanislavsky in the World is an ambitious and ground-breaking work charting a fascinating story of the global dissemination and transformation of Stanislavsky's practices.

Case studies written by local experts, historians and practitioners are brought together to introduce the reader to new routes of Stanislavskian transmission across the continents of Europe, Asia, Africa, Australasia and South (Latin) America. Such a diverse set of stories moves radically beyond linear understandings of transmission to embrace questions of transformation, translation, hybridisation, appropriation and resistance.

This important work not only makes a significant contribution to Stanislavsky studies but also to recent research on theatre and interculturalism, theatre and globalisation, theatre and (post)colonialism and to the wider critical turn in performer training historiographies.

This is a unique examination of Stanislavsky's work presenting a richly diverse range of examples and an international perspective on Stanislavsky's impact that has never been attempted before.

Jonathan Pitches is Professor of Theatre and Performance and Director of Research for the School of Performance and Cultural Industries, University of Leeds, where he is also Leader of the Practitioner Processes Research group. He specialises in the study of European, Russian and American traditions of actor training and has wider interests in intercultural performance, digital technology and reflection, and practice-based research methodologies. He is co-founder and co-editor of the Routledge Journal: Theatre, Dance and Performance Training and has written and/or edited several books in the field.

Stefan Aquilina is a lecturer within the Theatre Studies Department of the School of
Performing Arts (University of Malta). His main area of research is Russian and early Soviet theatre, especially the work of Stanislavsky and Meyerhold. This particular research interest is developed through the application of critical theories on 'everyday life'. Aquilina also runs a research project called 'Performance Lineage: the Russian Tradition of Actor Training' through a grant offered by the University of Malta.

Contents
Acknowledgements
Notes on transliteration
Figures

INTRODUCTIONS AND CONTEXT 1 AND 2
'Well-trodden Paths: US, UK, Russian and Soviet Perspectives on Stanislavsky's
Transmission' by Stefan Aquilina
'A System for all Nations? Stanislavsky in the World' by Jonathan Pitches
PART 1: EUROPE
Introduction by Stefan Aquilina
'Three Periods of Stanislavsky in Italy' by Franco Ruffini
'Stanislavsky and French Theatre: Selected Affinities' by Marie-Christine
Autant-Mathieu
'Between Nationalism and Ideology: Stanislavsky in Lithuania' by Ina Pukelyte
'An Amateur Processing of the System: Stanislavsky in Malta' by Stefan Aquilina
'Moments of Transition: Stanislavsky in Greece' by Maria Gaitanidi

PART 2: CHINA AND JAPAN
Introduction by Jonathan Pitches
'Towards a Chinese School of Performance and Directing: Jiao Juyin'
by Siyuan Liu
'Stanislavsky with Chinese Characteristics: How the System was introduced
into China' by Jonathan Pitches and Ruru Li
'A Producer's Perspective: Stanislavsky in Contemporary Japan' by
Kaori Nakayama

PART 3: LATIN AMERICA
Introduction by Stefan Aquilina
'Stanislavsky in Brazil: Territories and Frontiers' by Arlete Cavalier p.268
'Stanislavsky's Legacy in Cuba' by Yana Elsa Brugal
'A Teacher's Perspective: Stanislavsky at the Escuela de Teatro de Buenos Aires in
Argentina' by Raul Serrano

PART 4: AFRICA
Introduction by Stefan Aquilina
'Stanislavsky in Nigeria: Convergences and Counterpoints in Actor Training
and Practice' by Kene Igweonu
'Stanislavsky in Tunisian Theatre: a Heritage in Progress' by Moez Mrabet 'A Director's Perspective: Stanislavsky in South Africa' by David Peimer

PART 5: AUSTRALASIA
Introduction by Jonathan Pitches
'Theatrical Bowerbirds: Received Stanislavsky and the Tyranny of Distance in
Australian Actor Training' by Ian Maxwell 'Acting Idealism and Emotions: Hayes Gordon, The Ensemble Theatre and
Acting Studios in Australia' by Peta Tait
'Stanislavsky in Aotearoa: The System Experienced through the Maori World'
by Hilary Halba

PART 6: INDIA AND BANGLADESH
Introduction by Jonathan Pitches
'Between Stanislavsky and Bharata: Actor training at the National School of Drama in New Delhi' by Jooyeoul Ryu 'Stanislavsky in the Modern Theatre of Bangladesh: A Mapping of Postcolonial
Appropriation and Assimilation' by Syed Jamil Ahmed

Notes on Contributors
Index

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