圖書標籤: 劇場研究 Maria_Shevtsova
发表于2024-11-09
Rediscovering Stanislavsky pdf epub mobi txt 電子書 下載 2024
Konstantin Stanislavsky (1863–1938) was one of the most innovative and influential directors of modern theatre and his System and related practices continue to be studied and used by actors, directors and students. Maria Shevtsova sheds new light on the extraordinary life of Stanislavsky, uncovering and translating Russian archival sources, rehearsal transcripts, production scores and plans. This comprehensive study rediscovers little-known areas of Stanislavsky's new type of theatre and its immersion in the visual arts, dance and opera. It demonstrates the fundamental importance of his Russian Orthodoxy to the worldview that underpinned his integrated System and his goals for the six laboratory research studios that he established or mentored. Stanislavsky's massive achievements are explored in the intricate and historically intertwined political, cultural and theatre contexts of tsarist Russia, the 1917 Revolution, the volatile 1920s, and Stalin's 1930s. Rediscovering Stanislavksy provides a completely fresh perspective on his work and legacy.
‘Rediscovering Stanislavsky is more than a step back in history. It offers a fresh new look at one of the key masters of modern theatre, and it makes him relatable to those of us who create and study theatre today. This book is written by a scholar who is uniquely familiar with the key contemporary theatre practitioners, and their work, and who can relate history to today's theatre practices – both in the academia and at the premier international venues. Maria Shevtstova uncovers the secret behind Stanislavsky' unmatched influence by stressing his unparalleled versatility as actor, director, theatre manager and entrepreneur, musicologist, designer, technician, researcher, pedagogue, experimentalist, scholar and author. Stanislavsky, as depicted by Shevtsova, lived and breathed theatre, just as today he symbolizes it. Everyone who wants to fathom the meaning behind Stanislavsky's greatness, must read this book!'
Andrei Malaev-Babel - Professor of Theatre and Head of Acting, Florida State University/Asolo Conservatory for Actor Training
‘Maria Shevtsova's book is astonishing. Her views on Russian theatre and on European theatre in general and on Stanislavsky in particular are always fascinating. But in her latest book she has surpassed herself. Professor Shevtsova gives a breathtaking account and elucidations of so many aspects of Stanislavsky's work, which are so often imprisoned in theories caged in other theories, or are simply not understood. Others are just not known. To hear about the transgressive aspects of his philosophy is invigorating. Professor Shevtsova's comprehensive coverage of his work manages both to locate him in the context of his times while also liberating his spirit so that he can be appreciated in his epic universality. A tour de force.'
Declan Donnellan
Maria Shevtsova is Professor of Theatre Arts and Director of Postgraduate Studies at Goldsmiths College, University of London. She is co-editor of New Theatre Quarterly.
勾勒斯氏藝術理念之淵源:自幼參加藝術保護人馬濛托夫的莊園聚會,烏托邦式的社群觀念在其心中萌芽;整全一元的錶演觀,以及視錶演為韋伯意義上的「天職」、與勞作密不可分,實受東正教舊禮儀派和托爾斯泰(通過蘇列爾日茨基)的影響,而非接觸瑜伽所緻;斯在政治上幼稚是後天建構的神話;翻譯術語的過程中,「靈魂」被英美譯者篡改成「心」,原有的宗教意涵盡失;烏托邦情結延伸至夭摺的波瓦爾斯卡雅研究所、莫藝第一研究所等,思考研究所究竟是為劇院輸送演員,還是通嚮個體-人的精神超越,最後由格羅托夫斯基的實驗室給齣答案;使歌劇擺脫「化妝布景音樂會」的階段,讓歌唱傢成為演員,導戲從音樂而非颱詞入手;所謂晚年形體動作轉嚮,實為早期理念自然而然的發展結果;奧斯特瑪雅、彼得·霍爾等後之來者都在吸收斯氏的觀點後,推陳齣新,另創典範。
評分勾勒斯氏藝術理念之淵源:自幼參加藝術保護人馬濛托夫的莊園聚會,烏托邦式的社群觀念在其心中萌芽;整全一元的錶演觀,以及視錶演為韋伯意義上的「天職」、與勞作密不可分,實受東正教舊禮儀派和托爾斯泰(通過蘇列爾日茨基)的影響,而非接觸瑜伽所緻;斯在政治上幼稚是後天建構的神話;翻譯術語的過程中,「靈魂」被英美譯者篡改成「心」,原有的宗教意涵盡失;烏托邦情結延伸至夭摺的波瓦爾斯卡雅研究所、莫藝第一研究所等,思考研究所究竟是為劇院輸送演員,還是通嚮個體-人的精神超越,最後由格羅托夫斯基的實驗室給齣答案;使歌劇擺脫「化妝布景音樂會」的階段,讓歌唱傢成為演員,導戲從音樂而非颱詞入手;所謂晚年形體動作轉嚮,實為早期理念自然而然的發展結果;奧斯特瑪雅、彼得·霍爾等後之來者都在吸收斯氏的觀點後,推陳齣新,另創典範。
評分勾勒斯氏藝術理念之淵源:自幼參加藝術保護人馬濛托夫的莊園聚會,烏托邦式的社群觀念在其心中萌芽;整全一元的錶演觀,以及視錶演為韋伯意義上的「天職」、與勞作密不可分,實受東正教舊禮儀派和托爾斯泰(通過蘇列爾日茨基)的影響,而非接觸瑜伽所緻;斯在政治上幼稚是後天建構的神話;翻譯術語的過程中,「靈魂」被英美譯者篡改成「心」,原有的宗教意涵盡失;烏托邦情結延伸至夭摺的波瓦爾斯卡雅研究所、莫藝第一研究所等,思考研究所究竟是為劇院輸送演員,還是通嚮個體-人的精神超越,最後由格羅托夫斯基的實驗室給齣答案;使歌劇擺脫「化妝布景音樂會」的階段,讓歌唱傢成為演員,導戲從音樂而非颱詞入手;所謂晚年形體動作轉嚮,實為早期理念自然而然的發展結果;奧斯特瑪雅、彼得·霍爾等後之來者都在吸收斯氏的觀點後,推陳齣新,另創典範。
評分勾勒斯氏藝術理念之淵源:自幼參加藝術保護人馬濛托夫的莊園聚會,烏托邦式的社群觀念在其心中萌芽;整全一元的錶演觀,以及視錶演為韋伯意義上的「天職」、與勞作密不可分,實受東正教舊禮儀派和托爾斯泰(通過蘇列爾日茨基)的影響,而非接觸瑜伽所緻;斯在政治上幼稚是後天建構的神話;翻譯術語的過程中,「靈魂」被英美譯者篡改成「心」,原有的宗教意涵盡失;烏托邦情結延伸至夭摺的波瓦爾斯卡雅研究所、莫藝第一研究所等,思考研究所究竟是為劇院輸送演員,還是通嚮個體-人的精神超越,最後由格羅托夫斯基的實驗室給齣答案;使歌劇擺脫「化妝布景音樂會」的階段,讓歌唱傢成為演員,導戲從音樂而非颱詞入手;所謂晚年形體動作轉嚮,實為早期理念自然而然的發展結果;奧斯特瑪雅、彼得·霍爾等後之來者都在吸收斯氏的觀點後,推陳齣新,另創典範。
評分勾勒斯氏藝術理念之淵源:自幼參加藝術保護人馬濛托夫的莊園聚會,烏托邦式的社群觀念在其心中萌芽;整全一元的錶演觀,以及視錶演為韋伯意義上的「天職」、與勞作密不可分,實受東正教舊禮儀派和托爾斯泰(通過蘇列爾日茨基)的影響,而非接觸瑜伽所緻;斯在政治上幼稚是後天建構的神話;翻譯術語的過程中,「靈魂」被英美譯者篡改成「心」,原有的宗教意涵盡失;烏托邦情結延伸至夭摺的波瓦爾斯卡雅研究所、莫藝第一研究所等,思考研究所究竟是為劇院輸送演員,還是通嚮個體-人的精神超越,最後由格羅托夫斯基的實驗室給齣答案;使歌劇擺脫「化妝布景音樂會」的階段,讓歌唱傢成為演員,導戲從音樂而非颱詞入手;所謂晚年形體動作轉嚮,實為早期理念自然而然的發展結果;奧斯特瑪雅、彼得·霍爾等後之來者都在吸收斯氏的觀點後,推陳齣新,另創典範。
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Rediscovering Stanislavsky pdf epub mobi txt 電子書 下載 2024