Stanislavsky in the World is an ambitious and ground-breaking work charting a fascinating story of the global dissemination and transformation of Stanislavsky's practices.Case studies written by local experts, historians and practitioners are brought together to introduce the reader to new routes of Stanislavskian transmission across the continents of Europe, Asia, Africa, Australasia and South (Latin) America. Such a diverse set of stories moves radically beyond linear understandings of transmission to embrace questions of transformation, translation, hybridisation, appropriation and resistance.This important work not only makes a significant contribution to Stanislavsky studies but also to recent research on theatre and interculturalism, theatre and globalisation, theatre and (post)colonialism and to the wider critical turn in performer training historiographies.This is a unique examination of Stanislavsky's work presenting a richly diverse range of examples and an international perspective on Stanislavsky's impact that has never been attempted before.

Combines expert practitioner and academic voices to re-position Stanislavsky's influence in the world

ContentsAcknowledgementsNotes on transliterationFiguresINTRODUCTIONS AND CONTEXT 1 AND 2'Well-trodden Paths: US, UK, Russian and Soviet Perspectives on Stanislavsky's Transmission' by Stefan Aquilina'A System for all Nations? Stanislavsky in the World' by Jonathan PitchesPART 1: EUROPEIntroduction by Stefan Aquilina'Three Periods of Stanislavsky in Italy' by Franco Ruffini'Stanislavsky and French Theatre: Selected Affinities' by Marie-Christine Autant-Mathieu'Between Nationalism and Ideology: Stanislavsky in Lithuania' by Ina Pukelyte'An Amateur Processing of the System: Stanislavsky in Malta' by Stefan Aquilina'Moments of Transition: Stanislavsky in Greece' by Maria GaitanidiPART 2: CHINA AND JAPANIntroduction by Jonathan Pitches'Towards a Chinese School of Performance and Directing: Jiao Juyin' by Siyuan Liu'Stanislavsky with Chinese Characteristics: How the System was introduced into China' by Jonathan Pitches and Ruru Li'A Producer's Perspective: Stanislavsky in Contemporary Japan' by Kaori NakayamaPART 3: LATIN AMERICAIntroduction by Stefan Aquilina'Stanislavsky in Brazil: Territories and Frontiers' by Arlete Cavaliere'Stanislavsky's Legacy in Cuba' by Yana Elsa Brugal'A Teacher's Perspective: Stanislavsky at the Escuela de Teatro de Buenos Aires in Argentina' by Raul SerranoPART 4: AFRICAIntroduction by Stefan Aquilina'Stanislavsky in Nigeria: Convergences and Counterpoints in Actor Training and Practice' by Kene Igweonu'Stanislavsky in Tunisian Theatre: a Heritage in Progress' by Moez Mrabet'A Director's Perspective: Stanislavsky in South Africa' by David PeimerPART 5: AUSTRALASIAIntroduction by Jonathan Pitches'Theatrical Bowerbirds: Received Stanislavsky and the Tyranny of Distance in Australian Actor Training' by Ian Maxwell'Acting Idealism and Emotions: Hayes Gordon, The Ensemble Theatre and Acting Studios in Australia' by Peta Tait'Stanislavsky in Aotearoa: The System Experienced through the Maori World' by Hilary HalbaPART 6: INDIA AND BANGLADESHIntroduction by Jonathan Pitches'Between Stanislavsky and Bharata: Actor training at the National School of Drama in New Delhi' by Jooyeoul Ryu'Stanislavsky in the Modern Theatre of Bangladesh: A Mapping of Postcolonial Appropriation and Assimilation' by Syed Jamil AhmedNotes on ContributorsIndex