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Modernist theatre includes works considered as naturalist, symbolist, surrealist, futurist, Dadaist or expressionist, by writers such as Ibsen and Strindberg, created between the 1880s and the 1930s.
Peter Hall discusses the West End theatre of the 1950s, antipathy towards the RSC coming to London to perform, and the staging of the first English production of Waiting for Godot and its aftermath.
In which Prof. Smeliansky outlines the importance of Stanislavsky’s work in the history of Russian theatre, including Stanislavsky’s relation to Chekhov, Gordon Craig, Meyerhold and others.
Although best known as a playwright, Brecht was a highly original poet. His poems tell us much about his plays, not least his advocacy of survival in a context of resistance to oppression.
Lars Romann Engel, artistic director of “HamletScenen,” in conversation with
Dr. Anne Sophie Refskou, lecturer at University of Surrey, describes his process
of working on Shakespeare’s Hamlet. He analyzes the process of working with the
text and understanding the context of the play and its significance today. The
interview took place in Elsinore, Denmark, in August 2017.
This video features snapshots from two different directing workshops conducted
in October 2017 with two groups of directing students at RESAD (Real Escuela
Superior de Arte Dramático de Madrid) in Madrid, Spain. The workshops
focused on strategies of recontextualization of classical works and of
determining directorial point-of-view.
This video presentation features playwright and director Oriza Hirata’s
concept of robot theatre. Making Robot Theatre: An interview with Oriza Hirata of
Tokyo-based Seinendan.
This interview sees Jean Benedetti discussing some of the main precepts of Stanislavsky’s work, including Stanislavsky’s relation to Chekhov, Shchepkin, Meyerhold and others.
This video captures a typical progression in Levinsky’s teaching of biomechanics, from work with sticks to footwork, balance and simple twirling skills, culminating in a demonstration of solo études.
A film about Michael Chekhov. Part one covers his early years, family, upbringing, drama school and the beginning of his acting career at the Moscow Art Theatre.
Zarrilli’s Psychophysical Acting methodology focuses on the relationship between the actor-as-doer and what the actor does. It (re)examines in practice and theory a psychophysical approach to acting.
The Stanislavski Centre Annual Lecture sees a major international figure lecturing based upon their own expertise in the field of Stanislavsky studies every year – in this case, Anatoly Smeliansky.
Zarrilli’s Psychophysical Acting methodology focuses on the relationship between the actor-as-doer and what the actor does. It (re)examines in practice and theory a psychophysical approach to acting.
Bella Merlin’s practical presentation uses Stanislavsky’s Six Fundamental Questions to contextualise a demonstration of ‘practice as research’ riffing off his work, as well as Maria Knebel’s.
Vsevolod Meyerhold is remembered predominantly for his courageous personal fight for innovation, his radically stylised theatre productions, and his invention of biomechanics for performer training.
The term ‘expressionism’ describes a radical style of visual art that aimed to express emotion non-naturalistically, in violent protest against the perceived bourgeois repression of naturalism.