Approaching Stanislavski's work at the Opera-Dramatic Studio. Part 1

This is the first of a series of two articles written as an investigation of the Opera-Dramatic Studio (1935-1938) unpublished files, held at the Moscow Art Theatre Museum, between November 2017 and February 2018. In it, I try to present an analysis of some new aspects of Stanislavski's prepara...

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Published inStanislavski Studies Vol. 8; no. 2; pp. 223 - 236
Main Author Moschkovich, Diego
Format Journal Article
LanguageEnglish
Published Routledge 02.07.2020
Subjects
Opera-Dramatic Studio
physical actions
Stanislavski
theatre history
training
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Abstract This is the first of a series of two articles written as an investigation of the Opera-Dramatic Studio (1935-1938) unpublished files, held at the Moscow Art Theatre Museum, between November 2017 and February 2018. In it, I try to present an analysis of some new aspects of Stanislavski's preparation of the Studio's faculty and his practice with the pupils. After a short introduction to the research, I present, in this firt part, the period of the faculty's preparation (Jun-Oct 1935). Subsequently, in the second part, I will present the training work conducted with the pupils (Nov-Dec 1935), and an analysis of three aspects of Stanislavski's practice during his last years: the étude, the physical actions and the subconscious moment. These, as I argue functioned as a triple basic-training structure used in the preparation for the future work on the play and the role. To finish, I present a short conclusion on the analysed material.
AbstractList This is the first of a series of two articles written as an investigation of the Opera-Dramatic Studio (1935-1938) unpublished files, held at the Moscow Art Theatre Museum, between November 2017 and February 2018. In it, I try to present an analysis of some new aspects of Stanislavski's preparation of the Studio's faculty and his practice with the pupils. After a short introduction to the research, I present, in this firt part, the period of the faculty's preparation (Jun-Oct 1935). Subsequently, in the second part, I will present the training work conducted with the pupils (Nov-Dec 1935), and an analysis of three aspects of Stanislavski's practice during his last years: the étude, the physical actions and the subconscious moment. These, as I argue functioned as a triple basic-training structure used in the preparation for the future work on the play and the role. To finish, I present a short conclusion on the analysed material.
Author Moschkovich, Diego
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SubjectTerms Opera-Dramatic Studio
physical actions
Stanislavski
theatre history
training
Title Approaching Stanislavski's work at the Opera-Dramatic Studio. Part 1
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