Copy of The S Word: Stanislavski in Context, University of Malta, April 2019

The S Word: Stanislavski in Context

Annual Symposium organised by

The Stanislavski Centre and The Department of Theatre Studies (University of Malta)

in collaboration with The University of California Riverside.

5th, 6th, 7th April 2019

Venue:                         The Valletta Campus of the University of Malta, Valletta, Malta

Keynote speakers:       Prof. Laurence Senelick (Tufts University) and Prof. Vicki Ann Cremona (University of Malta)

Co-conveners:             Dr. Paul Fryer (The Stanislavski Centre) and Dr Stefan Aquilina (University of Malta)

Creative Adviser:        Prof. Bella Merlin (University of California Riverside)

Following on from the past three successful editions of the Symposium, we are very pleased to announce the Call for Papers/Presentations for the fourth major event of The S Word project. 

In choosing ‘Stanislavski in Context’ as its title, the 2019 edition of The S Word Symposium shows a dual ambition. It invites proposals that reflect on Stanislavski’s work within the social, cultural, and political milieus in which it developed without however forgetting the ways in which this work was transmitted, adapted, and appropriated within recent and current theatre contexts. The Symposium’s reach, therefore, is both historical as well as contemporary, and participants are encouraged to think of Stanislavski both as an instigator of modern theatre as well as a paradigm for performance practices within twenty-first-century training and performance scenarios.

We invite proposals for contributions in the following formats:

  • an individual conventional paper (20 minutes);
  • practical/workshop sessions (40 minutes);
  • panel presentations (a minimum of three participants) (60 minutes);
  • and, for the first time this year, practice-as-research sessions/practical presentations (20 minutes).

In the first instance please send a short written proposal (no more than 300 words) to Dr. Paul Fryer (paul@paulfryer.me.uk) and Dr Stefan Aquilina (stefan.aquilina@um.edu.mt), to arrive no later than 30th November 2018. Please include a short bionote.

Publication: Selected papers and other material from this event will be published in a special edition of the journal, Stanislavski Studies, in March 2020.

Registration for this event is now open online:

https://www.um.edu.mt/events/stanislavski2019/registration

Early bird Registration Fee payable until 01 January 2019 midnight CET: EUR 175.

Standard Registration Fee payable until 29 March 2019 midnight CET: EUR 225.

Members of SCUDD, ATHE and FDS: EUR 160.

Concessions (including students, unemployed, pensioners): EUR 100.

This event is generously supported by the School of Performing Arts of the University of Malta.

 

The S Word: Stanislavski in Context, University of Malta, April 2019

The S Word: Stanislavski in Context

Annual Symposium organised by

The Stanislavski Centre and The Department of Theatre Studies (University of Malta)

in collaboration with The University of California Riverside.

5th, 6th, 7th April 2019

Venue:                         The Valletta Campus of the University of Malta, Valletta, Malta

Keynote speakers:       Prof. Laurence Senelick (Tufts University) and Prof. Vicki Ann Cremona (University of Malta)

Co-conveners:             Dr. Paul Fryer (The Stanislavski Centre) and Dr Stefan Aquilina (University of Malta)

Creative Adviser:        Prof. Bella Merlin (University of California Riverside)

Following on from the past three successful editions of the Symposium, we are very pleased to announce the Call for Papers/Presentations for the fourth major event of The S Word project. 

In choosing ‘Stanislavski in Context’ as its title, the 2019 edition of The S Word Symposium shows a dual ambition. It invites proposals that reflect on Stanislavski’s work within the social, cultural, and political milieus in which it developed without however forgetting the ways in which this work was transmitted, adapted, and appropriated within recent and current theatre contexts. The Symposium’s reach, therefore, is both historical as well as contemporary, and participants are encouraged to think of Stanislavski both as an instigator of modern theatre as well as a paradigm for performance practices within twenty-first-century training and performance scenarios.

We invite proposals for contributions in the following formats:

  • an individual conventional paper (20 minutes);
  • practical/workshop sessions (40 minutes);
  • panel presentations (a minimum of three participants) (60 minutes);
  • and, for the first time this year, practice-as-research sessions/practical presentations (20 minutes).

In the first instance please send a short written proposal (no more than 300 words) to Dr. Paul Fryer (paul@paulfryer.me.uk) and Dr Stefan Aquilina (stefan.aquilina@um.edu.mt), to arrive no later than 30th November 2018. Please include a short bionote.

Publication: Selected papers and other material from this event will be published in a special edition of the journal, Stanislavski Studies, in March 2020.

Registration for this event is now open online:

https://www.um.edu.mt/events/stanislavski2019/registration

Early bird Registration Fee payable until 01 January 2019 midnight CET: EUR 175.

Standard Registration Fee payable until 29 March 2019 midnight CET: EUR 225.

Members of SCUDD, ATHE and FDS: EUR 160.

Concessions (including students, unemployed, pensioners): EUR 100.

This event is generously supported by the School of Performing Arts of the University of Malta.

 

The University of Malta becomes S Word partner.

We are very pleased to announce that The University of Malta has become a partner institution in our international research project, The S Word.

We can also announce that our 2019 event, The S Word: Stanislavski in Context, will take place in Malta in Spring 2019, co-convened by Dr Stefan Aquilina, a member of the Stanislavski Studies advisory board, and Director of Research in the School of Performing Arts.

Full details of this event will be published in Spring 2018.

The S Word: A Practical Acting Laboratory – University of California Riverside, April 2018


The third part of our major international research project, The S Word, will be hosted by partner institution The University of California Riverside.

A Unique and Exciting Opportunity to

Develop Your Practice-Based Acting Research…

 “The S Word: A Practical Acting Laboratory”

April 6-8, 2018

 

 

 

University of California, Riverside, in collaboration with the Stanislavski Centre, Rose Bruford College of Theatre and Performance (UK).

 ‘The creation of the living word.’ This is what Stanislavsky aspired to ignite during his lifetime of practice-based research. But what does that mean in a ‘post-truth era’ of ‘alternative facts’? The word has never been so devalued as in our current society. Empathy and true communication have never been at a greater global premium. Might actor training have a greater human application than ever before? What role does ceremony play in collective understanding?

‘The S Word: A Practical Acting Laboratory’ puts these very questions under the microscope. This unique event comprises three parallel acting laboratories to be led by three internationally acclaimed actor trainers: Dr Sharon M. Carnicke (acclaimed author of the influential Stanislavsky in Focus), Tina Packer (award-winning founding artistic director of Shakespeare & Company, Massachusetts) and Kimberly Guerrero (award-winning actor of stage and screen, including the originator of Johnna Monevata in August: Osage County and founder of the StyleHorse Collective).

During 10 hours of intensive workshops over three consecutive days, the key actor trainers will work with groups of 16-20 participants to investigate timely prompts stemming from Stanislavsky’s ‘system’. Prompts may include ‘How do we train emotional receptivity and empathy?’ ‘How do we dynamically connect breath to word to truthful expression?’ ‘How can we develop dynamic listening and affectivity?’ The emphasis is on curiosity, experimentation and true practical research. Unlike conventional conferences or symposia, new embodied knowledge may be developed during the actual Practical Acting Laboratory. Or it may not. Failure is an option. Dynamic exploration is everything.

Places for this event are strictly limited, and early booking highly advised.

Registration fees: $75 students. $200 all other applicants.

Booking open now at: http://store.bruford.ac.uk/product-catalogue/research-centres/research-events/the-stanislavski-centre

Applicants interested in generous collaboration and willing research are sought.

Outline schedule (subject to change)

Friday April 6th at the Culver Centre, downtown Riverside 
5pm: Registration
6pm: Welcome and Key Notes
7.45pm: Laboratory Session 1
9.00pm: Drinks reception
10.00pm: End
Saturday April 7th at the Culver Centre, downtown Riverside
9am: Laboratory Session 2
1.15pm: Lunch
2.15pm: Laboratory Session 3
6.30pm: End
Sunday April 8th at the Arts Studio Theatre, UCR Campus
9.30am: Culminating sharing of findings
11.30am: Wrap up and closing.
12.00pm: End

Co-convenors: Bella Merlin (UCR) and Paul Fryer (RBC)

 

 

Teatro Escola Macunaíma, becomes new partner in The S Word

We are very pleased to welcome our new partner in The S Word international research project: Teatro Escola Macunaíma, based in São Paulo, Brazil.

Colleagues from the school attended the 2017 symposium in Prague, and gave a fascinating panel presentation of their work.

The school will promote The S Word events in South America, and we are working together to develop an exciting new project for 2019.

 

Teatro Escola Macunaíma was founded in 1974.

Amid the military dictatorship and persecution of artists, the school opened with the clear objective of being a place of resistance to the censorship of the time. Freedom of choice and freedom of expression permeate school life up to the present day.

The school developed as an experimental centre for theatrical education. It was a free space to discuss performing arts and culture in general, and to hold courses on interpretation, dramatic readings and psychodramas.

The school did not follow a defined methodology, but rather a pedagogical approach focused on the sensitization and liberation of individual thought through bodily exercises.

In 1985, Nissim Castiel, a former student, bought the school, and turned it into one of the most important in the country.

Macunaíma was the first school in Brazil to officially adopt Stanislavski’s System and since perestroika, the school has sought to deepen its knowledge of the System with its teaching staff.

More than 30 years later, Macunaíma School is now a Brazilian reference as a centre of study for the System. There are 44 teachers, many graduates from the best universities in the country.

The school’s pedagogy is based upon autonomy and cooperation, designed jointly by the teaching team, coordinators and management of the School. The teaching aims

  • To be participatory, supportive and critical about the environment to which it is linked.
  • To develop Conscious citizens;
  • To train ethical professionals with technical excellence;

Who make their choices and pick their options with determination;

Who develop their responsibility with pleasure, driven by the desire to grow;

Who know how to live and work with differences to achieve a common goal.

The focus on teaching quality means that the school constantly research and train their staff to develop the best team of teachers in Brazilian theatre schools.

The school has four different physical locations in São Paulo, and a fully equipped theatre for our presentations and great enthusiasm to continue investing in art, always!

Currently, the school is run by director Luciano Castiel, who underlines the importance of being faithful to the history and precepts upon which the Macunaíma School was founded, allied to its DNA of continuous transformation, day by day, for a better version of itself.

For further information, please visit: http://www.macunaima.com.br/

The Performance of Directing and The Directing Summer School

We are very pleased to announce two new initiatives in the ongoing   Rose Bruford College and The Stanislavski Centre exploration of Directing and Director Training. 

 Rose Bruford College of Theatre and Performance, Lamorbey Park, Sidcup 

[25 mins. From London Charing Cross]

The Performance of Directing

and

Directing Summer School

Participant feedback from recent Contemporary Directions workshops:

  •  ‘Thanks so much, as in all good things, I was left wanting more. So engaging and informative and fun’: (Directing Through Exercises)
  •  ‘Just a note to say how much I enjoyed and got from the directing workshop I attended. I’ve been returning to my own notes from the day again and again. It was so fab to be working on the subtlety of questions around form and the matter of the pieces, as well having a shared psychophysical vocab underpinning’. (Directing Through Form)  
  •  ‘I do think these sessions are very valuable and interesting, and I very much enjoy attending them’. (Directing Through Form  & Directing Through Exercises)
  •  ‘I look forward to more workshops in 2017’ (Directing, Induction and the Unconscious)

The Performance of Directing

Fortnightly, Saturdays, 29th April – 24th June

In association with Presence Theatre

These day-long practical director-training-and-research workshops (all 10 a.m – 4 p.m.) involve a ‘directing-in-dialogue’ approach and include working with professional actors from Presence Theatre. The workshops are led by two practitioners, Simon Usher (RSC; National Theatre; Royal Court) and Colin Ellwood [Rose Bruford, Central, Guildhall], with extensive combined experience in both directing and director training. The final summative workshop has been designed in consultation with and will feature the participation of playwright Simon Stephens. Taken together the workshops aim to offer a comprehensive grammar of contemporary directing useful for both working and emerging directors and also for anyone with a serious interest in its constantly-developing practice

 Workshop 1: Gateways and Geographies: Saturday 29th April

Sets out the geographies of directing in relation to the terrains of performance, exploring for example what causes audiences to ‘lean forward’ into the performance experience

 Workshop 2: The Director in the Room: Saturday 13th May

Focuses on the director and her/his ‘performance’ in the room – physically and verbally – and its direct effect on the developing production, not just in terms of generating atmosphere but also in relation to the detail and achieved-ness of individual moments of performance.

 Workshop 3: Directing through Exercises: Saturday 27th May

Workshop 4: Directing through Improvisation: Saturday 10th June

These pull back from what might be termed ‘leading edge’ directing techniques to explore the facilitation of the performers’ imaginations in a broader ‘parameter’ directing mode – where the ‘creative space’ made available to the performer is framed and grounded more broadly through, respectively, Exercises and Improvisations.

 Workshop 5: Story into Space – A Sense of Connection: Saturday 24th June

With the participation of Simon Stephens we return again to the core ‘instrumentality’ of directing to synthesise the earlier work in the quest for concerted, meaningful and compelling staged action. For this final day we will draw principally on Simon’s Three Kingdoms, given a highly charged and radical production in 2012 at the Lyric Hammersmith directed by Sebastian Nübling

 In each workshop participants will have a range of opportunities to participate in the directing of featured scenes and also to observe, discuss and evaluate demonstrated work in relation to a range of dramatic forms and texts.

 Cost

Full price £75 per workshop / £300 for the full series of five

SCUDD Members £65 per workshop / £275 for the full series of five

Concessions £50 per workshop / £225 for the full series of five

 For much more information including booking please visit:

 http://theatrefutures.org.uk/contemporarydirections/2017/03/21/the-performance-of-directing/

  

Directing Summer School

Monday 3rd – Fri 7th July (10 am – evenings each day)

 

This week-long intensive directing exploration and training opportunity offers a rare combination of linked tutor-led workshops (mornings), supervised participant directing practice with actors (afternoons) and discussions and video showings (evenings), leading to a showing and discussion of student-prepared work on the final afternoon

  •  Master-classes each morning from a range of practitioners
  • Afternoon individual participant-directed scene rehearsals with professional actors and acting students
  • Final-day showing of work and debrief
  • Evening discussions and related video showings (optional)

The course is led by Simon Usher (RSC; National Theatre; Royal Court), Colin Ellwood [Rose Bruford, Guildhall, Central] and Matthieu Bellon (Rose Bruford, Bred in the Bone and Song of the Goat). We will be joined for the final day by Ramin Gray (Artistic Director of Actors Touring Company and former Associate Director Royal Court) who will also participate in feedback on student work. The course is intended to establish (for both practitioners and scholars) a workable grammar of contemporary directing; a foundation in basic directing practice and a contribution to the consolidation of more advanced skills. (It aims also to offer participants in earlier Contemporary Directions workshops such as The Performance of Directing sequence an opportunity to further develop their practice)

Cost

Deposit – £100

Course fee – £600

Early booking before 8 May 2017 – £500

Accommodation (optional) – £250

Discounts are available for Rose Bruford College alumni and for those booking the full sequence of The Performance of Directing.

Please contact Andrew Scanlan with any enquiries – andrew.scanlan@bruford.ac.uk  / +44 (0) 208 308 2605

For further information including booking please visit:

 http://theatrefutures.org.uk/contemporarydirections/2017/03/20/directing-summer-school/

The S Word: Merging Methodologies (Prague, 24th to 26th March 2017)

The Stanislavski Centre in partnership with The University of California Riverside

and DAMU Theatre Academy

Present

The S Word: Merging Methodologies

An international symposium

@ DAMU Theatre Academy, Prague, Czech Republic

24th, 25th and 26th March 2017

The second of our international symposiums exploring the legacy and influences of Konstantin Stanislavski on the contemporary theatre.

Keynote speakers: Prof. Anatoly Smeliansky (President, Moscow Art Theatre School)

and Prof. Jan Burian (General Director, Czech National Theatre

Guest speakers include:

Prof. Sergei Tcherkasski (The Russian State Institute of Performing Arts, St Petersburg) on his award-winning book, Acting: Stanislavsky – Boleslavsky – Strasberg: History, Theory and Practice.

Prof Andrei Malaev-Babel (Florida State University) The Nikolai Demidov Organic Acting Technique and his new book Nikolai Demidov’s Becoming an Actor-Creator (Routledge, 2016).

Workshops include: Yoga and Acting, Stanislavski and Barba, Acting with the Inner Partner, Stella Adler and Emotion Memory.

Paper topics include: Sanford Meisner, Michael Chekhov, Stanislavski and the Brazilian Theatre, Lee Strasberg, Thomas Ostermeier, Demidov, and Serafima Birman.

Presenters include: Bella Merlin, Marie-Christine Autant-Mathieu, Milton Justice, Jan Hancil and Rose Whyman.

A performance of the play, Friends, by Barbora Hancilova, directed by Adam Svozil, with the actors of the DAMU fourth year Acting programme, designed by the students of Scenography.

A premiere screening of the new Russian TV film, Stanislavski and Yoga, (by permission of VGTRK).

Online Booking is available here: http://store.bruford.ac.uk/browse/extra_info.asp?compid=1&modid=1&deptid=10&catid=115&prodvarid=229