- 176 pages
- English
- ePUB (mobile friendly)
- Available on iOS & Android
Stanislavsky and Gender
About this book
Stanislavsky and Gender explores the intimate and complicated relationship between the enduring influence of Konstantin Stanislavsky and the evolving phenomenon of gender. This book provides new insights through historical research, unpublished and newly translated materials, and contemporary perspectives from diverse scholars and practitioners.
Readers will gain a nuanced understanding of how gender informs and intersects with the legacy of Konstantin Stanislavsky and its related traditions from historical, feminist, pedagogical, intersectional, and queer contexts. Stanislavsky and Gender combines historical and contemporary perspectives from scholars and practitioners from the UK, Ireland, the US, Australia, Russia, and Brazil. Their contributions cover theatre histories, her-stories, emotion, feminism, pedagogy, intersectionality, race, and queerness. Following each chapter, contributors are joined in conversation to discuss their writing in a broader context.
Part of the "Stanislavsky And…" series, Stanislavsky and Gender will be invaluable to scholars, teachers, students, and practitioners interested in integrating perspectives on gender into their research, teaching, and practice of Stanislavsky's legacy and associated traditions, and theatre history, acting, directing, actor training, and pedagogy more broadly.
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Information
Table of contents
- Cover Page
- Half Title page
- Series Page
- Title Page
- Copyright Page
- Contents
- Contributors
- Acknowledgements
- Stanislavsky and Gender: Introduction
- 1 Stanislavsky and the First Female Directors of the Moscow Art Theatre
- 2 Acting Emotional Expression and Gender Identity in Stanislavsky’s Approach
- 3 Re-thinking Stanislavsky’s System as Feminist Practice with Lisa Peck and Bella Merlin
- 4 Disparities in the Stanislavsky Tradition: Imperceptible and Dispossessed
- 5 Commingling Queerness and Stanislavsky: Developing and Practising a Slippery Pedagogy to Shift Perspectives on Actor Training
- Epilogue: Stanislavski’s Dog
- Index