La studiosa, docente presso l’Università di
Londra, ricostruisce la personale estetica del regista e teorico mediante fonti
inedite in lingua russa (tradotte in inglese) e trascrizioni di partiture e
progetti teatrali. Ne emergono aree poco conosciute del nuovo teatro stanislavskiano
in proficuo rapporto con le arti visive, la danza e l’opera.
Un volume che si candida come imprescindibile
punto di riferimento per tutti gli studiosi dell’opera e della vita di
Stanislavsky e non solo.
PREFAZIONE
CONTEXT I
The Road to the Moscow Art Theatre
Ensemble Theatre
Utopian Communities
Silver Age Metaphysics
CONTEXT II
Stanislavsky and Politics
Theatre in Revolution, and Meyerhold
The Art Theatre in the Stalin Years,
ACTOR
The Life of the Human Spirit’ and
Russian Orthodoxy
‘Ya yesm’: ‘I Am’ and the
Subconscious
Several Problems of Translation
Yoga; the Superconscious;
Inspiration and Orthodoxy
The Theatre of Emotional
Experiencing
Ethics and Discipline
STUDIO
A Chart of the Studios
Sulerzhitsky and the First Studio
The Second Studio
The Third Studio
The Fourth Studio
The Bolshoy Opera Studio
The Opera-Dramatic Studio
DIRECTOR
The Society of Art and Literature
Two Directors
Production Scores and Musicality:
Chekhov and Gorky
‘Reality’ and The Lower Depths
Rehearsal Notes: Cain and The
Marriage of Figaro
Director-Pedagogue: Othello, Romeo
and Juliet, Hamlet
What Is a Director?
EPILOGUE: LEGACY
Which Stanislavsky?
Perspectives: France, Britain,
Germany
Now: The ‘Human Being’
BIBLIOGRAFIA
INDICE
