The Russian tradition is a major area of theatre studies Uses a range of historical and archival material, including previously unpublished material from the Michael Chekov archives International market - UK, America. Potential interest in Russia and France

As one of the most well-known names in theatre history, Konstantin Stanislavsky’s teachings on actor training have endured throughout the decades, influencing scholars and practitioners even in the present day. This second edition of Konstantin Stanislavsky combines: an overview of Stanislavsky’s life and work, including recent discoveries an assessment of his widely read text, An Actor Prepares (1936) with comparisons to Benedetti’s 2008 translation, An Actor’s Work detailed commentary of the key 1898 production of The Seagull an indispensable set of practical exercises for actors, teachers and directors. As a first step towards critical understanding, and as an initial ex- ploration before going on to further, primary research, Routledge Performance Practitioners are unbeatable value for today’s student.

This pioneering introduction to Stanislavsky's methods and modes of actor training covers all of the essential elements of his System. Recreating ‘truthful’ behaviour in the artificial environment, awareness and observation, psychophysical work, given circumstances, visualization and imagination, and active analysis are all introduced and explored. Each section of the book is accompanied by individual and group exercises, forming a full course of study in the foundations of modern acting. A glossary explains the key terms and concepts that are central to Stanislavsky’s thinking at a glance. The book’s companion website is full of downloadable worksheets and resources for teachers and students. Experiencing Stanislavsky Today is enhanced by contemporary findings in psychology, neuroscience, anatomy and physiology that illuminate the human processes important to actors, such as voice and speech, creativity, mind-body connection, the process and the production of emotions on cue. It is the definitive first step for anyone encountering Stanislavsky’s work, from acting students exploring his methods for the first time, to directors looking for effective rehearsal tools and teachers mapping out degree classes.

The Routledge Companion to Studio Performance Practice is a unique, indispensable guide to the training methods of the world’s key theatre practitioners. Compiling the practical work outlined in the popular Routledge Performance Practitioners series of guidebooks, each set of exercises has been edited and contextualised by an expert in that particular approach. Each chapter provides a taster of one practitioner’s work, answering the same key questions: ‘How did this artist work? How can I begin to put my understanding of this to practical use?’ Newly written chapter introductions put the exercises in context, explaining how they fit into the wider methods and philosophy of the practitioner in question. All 21 volumes in the original series are represented in this volume.

The Routledge Companion to Performance Practitioners collects the outstanding biographical and production overviews of key theatre practitioners first featured in the popular Routledge Performance Practitioners series of guidebooks. Each of the chapters is written by an expert on a particular figure, from Stanislavsky and Brecht to Laban and Decroux, and places their work in its social and historical context. Summaries and analyses of their key productions indicate how each practitioner's theoretical approaches to performance and the performer were manifested in practice. All 22 practitioners from the original series are represented, with this volume covering those born before the end of the First World War. This is the definitive first step for students, scholars and practitioners hoping to acquaint themselves with the leading names in performance, or deepen their knowledge of these seminal figures.

Based on the author’s decades of teaching, pedagogical and theatrical research, and his professional experience as actor and director, Making a Scene: Creating a Scene Study Class for Actors offers a pedagogical approach to rehearsal scenes as a primary tool for diagnosis and actor improvement. This volume carefully lays out the case for thinking deeply and critically about the nature of every facet of an acting class: the environment of the classroom, the choice of material for performing, diagnostic tools for responding to scene sessions, and means for engaging all students. This study includes suggestions for a teacher’s philosophy towards the work; a justification for implementing games, improvisations, and etudes; suggestions for resources for exercises both basic and complex; and a brief discussion on approaches to period styles material and connecting it to contemporary student life and issues. Addressed to both the beginning theatre teacher and the seasoned educator, this will be an essential book for anyone seeking to update their work with performers in private studios, high school settings, or in higher education.

A Beginning Singer's Guide is a vocal pedagogy with four practical uses. First, it can be used as a collateral text for studio voice lessons. The teacher can conserve time by assigning relevant reading in the book instead of making lengthy expositions during the lesson. Second, it can be used as a primary text for undergraduate vocal pedagogy classes. Many schools offer a vocal pedagogy class whose enrollment includes singers and future choral conductors. A special chapter for the future choral conductor containing methods and other aids should meet the need for an all-in-one text for this class. Third, it can be used as a practical guide for new voice teachers. A special chapter containing methods for new voice teachers and studio administration will be very useful to the new teacher of voice. Fourth, the book explores subjects not usually covered in music pedagogy books, such as notes on working with a pianist, improving memory, common acting terms, subtexting, and methods for alleviating performance anxiety. These important, yet often disregarded areas, further complement a singer's talent and skill. The author does not espouse any particular 'method' of singing; instead, he applies a universal, scientific approach with the firm belief that singing can be enhanced through further musical knowledge. The sequence of the book follows the natural sequence of learning to sing. The book is rounded out with line art of the vocal mechanism, musical examples, tables outlining the musculature of singing, practical forms, information for the beginning teacher, and a bibliography.

First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

Performing Chekhov is a unique guide to Chekhov's plays in performance. It will be indispensable to students, teachers and theatre practitioners interested not only in Chekhov but in the history of the modern stage.

A typo in a help wanted ad results in Constantin Stanislavski being cast in the role of Marketing Director for a company in transition. Stanislavski, through the contrived alter-ego of Stan Islavski, is tasked by the company’s CEO with using the techniques of his Method to turn around the marketing department and reconnect the company its products and its services with its customers and markets. The one condition of his assignment, however, is that he cannot reveal his true identity until after his team’s new marketing plan is presented to the company’s senior management and board just three months later. Using the principles of his Method Acting technique, Stan sets out to help the company and its cast of characters to find their corporate self and connect it to the actions of the marketplace. Along the way, the managers he is training learn to cope with his digressions, stories and analogies all the while unwittingly learning to apply concepts such as observation, emotion memory and even a little magic to their daily work. In the end, the lesson taught through this creative, humorous and engaging story is that there is a method which can be used as a guide to teach marketing and business professionals the intangible skill of connecting the corporate self with the Character of the Customer.