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Journal articles on the topic 'Stanislavski'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Ganeva, Maria. "Abordări contemporane în pedagogia teatrală." Analele Universităţii „Dunărea de Jos” din Galaţi. Fascicula XXV,CercetARTE / The Annals of ”Dunarea de Jos” of Galati. Fascicle XXV, ARTSResearch 4 (April 5, 2022): 67–82. https://doi.org/10.35219/cercetarte.2020.06.

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Stanislavski's method is recognized as one of the most comprehensive and effective pedagogy of acting. In developing his method, Stanislavski used and adapted knowledge of psychology, a science that has greatly influenced the development of dramatic art in the twentieth century. This article draws attention to frequent mistakes and confusions in the application of the Stanislavskian method in contemporary pedagogy, especially in terms of understanding and mastering the psychotechnics of acting, one of the most important pedagogical tools used by Stanislavski.

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2

Schmitt, Natalie Crohn. "Stanislavski, Creativity, and the Unconscious." New Theatre Quarterly 2, no. 8 (1986): 345–51. http://dx.doi.org/10.1017/s0266464x00002359.

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As Alice Reyner's paper on Stanislavski and Bradley in NTQ 4 illustrated, Stanislavski remained very much a man of his own time, however enduring his approach to acting has proved. Here, Natalie Crohn Schmitt examines one of the concepts most crucial to ‘the system’ – a concept which is in its essentials, however, derived from nineteenth-century ideas, now being challenged, about the relationship between creativity and the unconscious. Pointing out that Stanislavski himself believed that his ‘system’ was simply the application of natural laws to acting technique, the author shows Stanislavski'

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3

Mumford, Meg. "Brecht Studies Stanislavski: Just a Tactical Move?" New Theatre Quarterly 11, no. 43 (1995): 241–58. http://dx.doi.org/10.1017/s0266464x0000912x.

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In the 'fifties Brecht undertook an examination of Stanislavski's theatre which in terms of breadth and intensity was unprecedented in his career – and rehearsal documentation from that period testifies that he incorporated some of Stanislavski's methods into the stage practice of the Berliner Ensemble. The seriousness of his study is attested by the organized collection of notes on the production of Katzgraben recently discovered in Elizabeth Hauptmann's estate. Brecht's preoccupation with Stanislavski at this time has been seen as an attempt to protect his theatre's existence in an environme

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4

Dicenzo, Maria, and Daniel Fischlin. "In Review: Stanislavski on Opera." Canadian Theatre Review 96 (September 1998): 87–88. http://dx.doi.org/10.3138/ctr.96.013.

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Stanislavski on Opera details the experience of Pavel Rumyantsev, an actor-singer/director who participated in most of the operatic productions to emerge from Stanislavski’s Opera Studio of the Bolshoi Theatre. The studio was founded in 1918 through the influence of E.K. Malinovskaya, manager of the State Theatres in Moscow, then later converted in 1924 into the Stanislavski Opera Studio and in 1926 into the Opera Studio-Theatre, ending up in 1928 as the Stanislavski Opera Theatre (the many names perhaps accounting, at least partially, for the students’ nickname for the studio: “School on the

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5

Marchenko, Herman. "Vsevolod Meyerhold’s Biomechanics and Boris Zakhava's Educational Work." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (2020): 58–74. http://dx.doi.org/10.36340/2071-6818-2020-16-4-58-74.

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The article deals with two different approaches to training actors. One of them is Stanislavski’s system, and the other is Meyerhold’s biomechanics. Konstantin Stanislavski and Vladimir Nemirovich-Danchenko are reformers of the Russian theater. As the Art Theater founders, they understood that the emergence of a new drama would require a completely different approach to working with actors and a different design of the stage space. With regard to new performances, it became possible to pose critical social questions related to everyday life before the viewer. Therefore, it was logical that the

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Santos, Alessandra Dutra dos. "Questão prática, resposta crítica: o metateatro de Sabina Berman." Aletria: Revista de Estudos de Literatura 7 (December 31, 2000): 137–46. http://dx.doi.org/10.17851/2317-2096.7..137-146.

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Resumo: Este artigo visa discutir os conflitos existentes entre teoria e prática teatral, utilizando como instrumentos dois monólogos da dramaturga mexicana Sabina Berman e o manual de preparação do ator de Stanislavski, buscando res gatar o diálogo existente entre os dois textos.Palavras-chave: teoria teatral; Sabina Berman; Stanislavski.Abstract: This article objectives to analyse the conflicts between theory and pratical theatre using two monologues of Mexican drama by Sabina Berman and the guide to ac tor preparation by Stanislavsky, trying to keep the existing dialogue in both.Keywords:

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7

., Gaurav, and Smriti Bhardwaj. "The Stanislavski System: A Psychophysical Acting Training Perspective." International Journal of Religion 5, no. 10 (2024): 3035–42. http://dx.doi.org/10.61707/x2wm2j08.

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Konstantin Stanislavski was a well-known actor and director who developed a system to train actors. Stanislavski emphasised on the significance of establishing a strong link between psychology and physicality in actor training and performance. It laid the groundwork for what later became to be known as the psychophysical approach. Stanislavski’s contributions to the art of acting were groundbreaking and he challenged conventional acting practices that relied solely on external gestures. He advocated for a more authentic and internally driven style of acting. He urged actors to delve deep into

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8

Phetruchee, Mananshaya, Sakgavin Siriwattanakula, and Phakamas Jirajarupat. "The Application of the Stanislavski System in Thai Court Drama Learning." International Journal of Education and Literacy Studies 12, no. 4 (2024): 208–20. https://doi.org/10.7575/aiac.ijels.v.12n.4p.208.

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Mixed-methods research is employed to investigate the implementation of the Stanislavski system in the study of Thai court drama. This study investigates the successful application of the Stanislavski method in Thai Court Theater, focusing on its role in enabling actors to portray emotions with accuracy and conviction. Research methods encompass activities including document and literature analysis, comprehensive interviews, observation of Thai Court Theater performances, data assessment, dissemination of academic findings, and clarification of results. The results illustrate that the utilizat

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9

Whyman, Rose. "The Actor's Second Nature: Stanislavski and William James." New Theatre Quarterly 23, no. 2 (2007): 115–23. http://dx.doi.org/10.1017/s0266464x07000024.

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This article considers the origins of Stanislavski's system and his insistence that the actor's skills, like the musician's, must be honed through daily exercises. Such practice must become the actor's ‘second nature’, as Stanislavski terms it. Rose Whyman here compares what Stanislavski has to say about skill acquisition with the psychologist William James's discussion of the role of habit in learning. This raises some problems in theorizing the system today, as it was rooted in the science of more than a century ago, when much less was known about the mechanisms of memory and learning. Rose

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10

Benedetti, Jean. "A History of Stanislavski in Translation." New Theatre Quarterly 6, no. 23 (1990): 266–78. http://dx.doi.org/10.1017/s0266464x00004577.

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Stanislavski has become a minor industry, both in theatre training and in publishing, with courses and related books endorsing, elaborating, or questioning his ‘System’. But how much of the System is really accessible to an English-speaking readership, and how full a view of Stanislavski's fully-formed ideas does it represent? Even the order and timing of the appearance of his works in English has, argues Jean Benedetti, determined our reception of his thought, and left us ignorant, sometimes wilfully, of the real development of his thinking: and in the following article, he traces the complic

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11

Irianto, Ikhsan Satria, Tofan Gustyawan, and Lusi Handayani. "Implementation of Vocal Training Methods from the Stanislavski System in the Kanti Becakap." Gondang: Jurnal Seni dan Budaya 7, no. 1 (2023): 160. http://dx.doi.org/10.24114/gondang.v7i1.48190.

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This vocal training method research is an interpretation of Stanislavski's acting method. This study aims to formulate vocal training methods for actors based on the Stanislavski system. The application of this method is carried out in the Kanti Becakap (Art Community). The material object of this research is "The System" by Stanislavski which is contained in two books, An Actor's Prepares (Translation of Asrul Sani, 1980) and the book Building A Character (Translation of Gramedia Popular Library, 2008). The research method used is a qualitative method with an analytic descriptive approach. Th

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12

Leșe, Ana Cristina. "K. S. Stanislavski and the physical action." Timisoara Physical Education and Rehabilitation Journal 10, no. 19 (2017): 67–72. http://dx.doi.org/10.1515/tperj-2017-0019.

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Abstract We note that the physical action in the K. Stanislavski's system expresses the same meaning as the motor action in the field of Physic Education, consisting in accomplishing a task with the help of the skeletal muscles, mainly, of the physical exercise. We sense here, the link between the Stanislavski's system and the Physical Education, link that is achieved, mainly through physical exercise. And this is how, to the question “What is the first thing in the actor's work of preparing for a role?”, K. Stanislavski is in his right to assert, after a long experience of artist-researcher,

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13

Zhukov, Dmitry K. "K. Stanislavsky’s System and Husserl’s Phenomenology: the “Life World” in the Footlight." Bulletin of Liberal Arts University 12, no. 4 (2024): 138–48. https://doi.org/10.35853/vestnik.gu.2024.12-4.12.

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The actor’s situation on a stage, being “unnatural”– as K. Stanislavsky noted – which, in E. Husserl’s terms, necessitates the actor’s capacity to “bracket” the naivety inherent in the “natural attitude”. This case allows us to see in Stanislavsky’s “System” the analysis of the ways of constituting stage images as “phenomena”, from a phenomenological perspective. The first part of the article demonstrates how an actor trained in the Stanislavski school transforms an object, by analogy with the method of “purification” of immediate experiences in Husserl’s project to achieve “absolute” experien

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14

Dacre, Kathy. "Teaching Stanislavski." Stanislavski Studies 2, no. 1 (2013): 287–95. http://dx.doi.org/10.1080/20567790.2013.11428602.

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15

Sennett, Herbert. "Stanislavski and the Actor, and: Stanislavski in Rehearsal (review)." Theatre Journal 52, no. 1 (2000): 151–52. http://dx.doi.org/10.1353/tj.2000.0031.

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16

Hobgood, Burnet M. "Stanislavski's Books: an Untold Story." Theatre Survey 27, no. 1-2 (1986): 155–65. http://dx.doi.org/10.1017/s0040557400008826.

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A number of questions about Stanislavski's writings on acting and the theatre still hang in the air nearly fifty years after his death. It seems curious that this should be the case when the ideas and books by the great Russian director-actor-teacher are so well known and have exerted such a profound influence on the modern theatre. The persistence of these questions through the years has even raised doubts concerning the authenticity of the writings attributed to Stanislavski and the accuracy of translations from his original Russian texts. As a result, serious students of Stanislavski's “Sys

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17

Mann, Laurin. ""Stanislavski" in Toronto." Theatre Research in Canada 20, no. 2 (1999): 207–26. http://dx.doi.org/10.3138/tric.20.2.207.

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18

Carnicke, Sharon Marie, and Jean Benedetti. "Stanislavski: A Biography." Theatre Journal 42, no. 1 (1990): 134. http://dx.doi.org/10.2307/3207577.

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19

Poliakov, Stéphane. "Stanislavski and images." Stanislavski Studies 5, no. 1 (2017): 111–21. http://dx.doi.org/10.1080/20567790.2017.1301732.

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20

Ruffini, Franco, and John Dean. "Konstantin Sergeyevich Stanislavski." Peripeti 1, no. 2 (2021): 23–26. http://dx.doi.org/10.7146/peri.v1i2.107482.

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Why a Theatre Laboratory? It includes the programme of a three days’ international symposium from October 4th through 6th 2004. This is the first initiative taken by the Centre for Theatre Laboratory Studies (CTLS), a newly inaugurated centre under Aarhus University in cooperation with Nordisk Teaterlaboratorium. Peripeti include articles on Stanislavski, Meyerhold, Copeau, Decroux, Grotowski, Peter Brook, Théâtre du Soleil, and Odin Teatret and the theatre laboratory praxis of these masters and inventors, including, of course, reflections on their function and effect. In the last article, E

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21

Ardelean, Ioan. "Stanislavski la repetiții." Cercetări teatrale 4, no. 2 (2024): 157–61. http://dx.doi.org/10.46522/ct.2023.02.10.

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22

Autant-Mathieu, Marie-Christine. "« Ce que l’on peut apprendre du théâtre de Stanislavski » (Pour le 150e anniversaire de sa naissance)." Slovo 41, no. 1 (2013): 179–99. https://doi.org/10.3406/slovo.2013.1491.

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«“What one can learn from Stanislavski’s theatre” (On the occasion of the 150th anniversary of his birth)». In 1953, Bertolt Brecht, until then fierce opponent of Stanislavski’s work, reevaluates his positions and demonstrates in nine points «what one can learn from the Stanislavski’s Theatre». This reversal tells a lot about the relevance of the Russian master’s research, conducted in Russia at the end of the 1880s and completed ten years before the October revolution. The 150th anniversary of his birth gives us the opportunity to revisit his artistic path. The study will show how Stanislavsk

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23

Ruffini, Franco. "De Volta à Sala Fechada: o meu diálogo com Jerzy Grotowski." Revista Brasileira de Estudos da Presença 1, no. 1 (2011): 235–59. http://dx.doi.org/10.1590/2237-266020958.

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RESUMO A partir da leitura de cartas e textos de Jerzy Grotowski, Eugenio Barba e Constantin Stanislavski, este texto discute as diferentes compreensões do autor acerca da obra de Grotowski. Ao comparar diferentes passagens de escritos de Grotowski e Stanislavski, este texto elucida e problematiza, do ponto de vista histórico, alguns elementos na genealogia da obra desses autores, incluindo a filiação de Grotowski em relação a Stanislavski. Por fim, apresenta-se o trabalho do ator no panorama de conceitos como memória e corpo-energia, próprios da herança desses diretores-pedagogos.

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24

Pavlovskyi, Volodymyr. "The Problematics of Stanislavski's Method of Physical Actions in the Context of the Modern Theater Process." Bulletin of KNUKiM. Series in Arts, no. 36 (June 10, 2017): 29–38. https://doi.org/10.31866/2410-1176.36.2017.157674.

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The purpose of the article is to study the problematics of Stanislavski’s Method of Physical Actions (MPA) in the context of the modern theater process and to determine the psychological mechanisms of activating stage feelings of the character actor. The research methodology consisted in the application of the structural-functional, deductive-hypothetical method, which allows for analyzing the structural elements, principles of the MPA, and formulating own hypotheses. The scientific novelty of the work lies in the fact that the problem of Stanislavsky’s MPA was studied on the basis

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Caffarel Rodríguez, Bárbara, and Ana María Zaharía. "Del teatro al cine: análisis de la creación de los personajes de la obra Tío Vanía y su traslación al cine en Vania en la calle 42." Comunicación y Hombre, no. 18 (February 4, 2022): 109–21. http://dx.doi.org/10.32466/eufv-cyh.2022.18.719.109-121.

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Vania en la calle 42 (Malle, 1994) es la adaptación de la obra de Tío Vania (1899) de Antón Chéjov representada como si se tratara de un ensayo teatral. Su arranque en forma de documental en seguida se transforma en ficción, lo que nos permitirá determinar nuestro objetivo que es analizar el método con el que trabajan los actores, buscando analogías y características propias del sistema Stanislavski, pero enmarca-das en el medio cinematográfico. Para alcanzar nuestro propósito estudiaremos la narrativa seguida por Malle para crear esta adaptación de la obra de Chéjov, así como la construcción

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Caffarel Rodríguez, Bárbara, and Ana María Zaharía. "Del teatro al cine: análisis de la creación de los personajes de la obra Tío Vanía y su traslación al cine en Vania en la calle 42." Comunicación y Hombre, no. 18 (February 4, 2022): 109–21. http://dx.doi.org/10.32466/eufv-cyh.2022.18.719.109-121.

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Vania en la calle 42 (Malle, 1994) es la adaptación de la obra de Tío Vania (1899) de Antón Chéjov representada como si se tratara de un ensayo teatral. Su arranque en forma de documental en seguida se transforma en ficción, lo que nos permitirá determinar nuestro objetivo que es analizar el método con el que trabajan los actores, buscando analogías y características propias del sistema Stanislavski, pero enmarca-das en el medio cinematográfico. Para alcanzar nuestro propósito estudiaremos la narrativa seguida por Malle para crear esta adaptación de la obra de Chéjov, así como la construcción

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27

Costa, Iná Camargo. "Stanislavski na cena americana." Estudos Avançados 16, no. 46 (2002): 105–12. http://dx.doi.org/10.1590/s0103-40142002000300008.

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28

Lesourd, Françoise. "Le Théâtre de Stanislavski." Coulisses, no. 4 (June 1, 1991): 41–51. http://dx.doi.org/10.4000/coulisses.1689.

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29

Desloovere, Martin. ""De stoel van Stanislavski"." Documenta 5, no. 4 (2019): 265–69. http://dx.doi.org/10.21825/doc.v5i4.10953.

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30

Klinger, William J. "Stanislavski and computer science." ACM SIGCSE Bulletin 37, no. 4 (2005): 111–14. http://dx.doi.org/10.1145/1113847.1113889.

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31

Kolankiewicz, Jerzi. "Grotowski face à Stanislavski." Études littéraires 20, no. 3 (2005): 139–44. http://dx.doi.org/10.7202/500820ar.

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32

Cooper, Tom. "Acting Stanislavski: A Practical Guide to Stanislavski’s Approach and Legacy by John Gillett." Journal of Dramatic Theory and Criticism 31, no. 1 (2016): 161–62. http://dx.doi.org/10.1353/dtc.2016.0028.

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de Guevara, Victor Ladron. "Acting Stanislavski: A Practical Guide to Stanislavski's Approach and Legacy. By John Gillett." Stanislavski Studies 3, no. 1 (2015): 87–89. http://dx.doi.org/10.1080/20567790.2015.11428614.

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Whyman, Rose. "A Segunda Natureza do Ator - Stanislavski e William James." Revista Brasileira de Estudos da Presença 4, no. 2 (2014): 295–312. http://dx.doi.org/10.1590/2237-266043410.

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RESUMO Este artigo considera as origens do sistema de Stanislavski e a sua insistência na ideia de que as habilidades do ator, assim como as do músico, devam ser afinadas por intermédio de exercícios diários. Tal prática precisa se tornar a segunda natureza do ator nos termos de Stanislavski. Compara-se aqui o que Stanislavski tem a dizer sobre a aquisição dessas habilidades com a discussão sobre o papel do hábito na aprendizagem do psicólogo William James. Isso levanta alguns problemas na teorização do sistema hoje, uma vez que o mesmo está radicado na ciência de mais de um século atrás, quan

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35

Nurhasanah, Ica. "PEMERANAN TOKOH MURID DALAM NASKAH PELAJARAN KARYA EUGENE IONESCO TERJEMAHAN TOTO SUDARTO BACHTIAR DENGAN GAYA ABSURDISME." Laga-Laga : Jurnal Seni Pertunjukan 7, no. 2 (2021): 151. http://dx.doi.org/10.26887/lg.v7i2.2082.

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Naskah Pelajaran karya Eugene Ionesco terjemahan Toto Sudarto Bachtiar menceritakan tentang seorang murid yang datang kerumah Profesor untuk belajar demi melanjutkan pendidikan doktoralnya. Tokoh Murid memiliki karkater yang cenderung percaya diri dan ceria. Meskipun Tokoh Murid sudah mencapai pendidikan doktoralnya, ia masih belum bias membedakan antara pengurangan dan penjumlahan. Konflik pun dimulai dari masalah tersebut yang dianggap sebagai dasar dari pengetahuan orang yang punya pendidikan tinggi. Tokoh Murid diwujudkan oleh pemeran di atas panggung menggunkan gaya absurd. Untuk mewujudk

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36

Bilgrave, Dyer P., and Robert H. Deluty. "STANISLAVSKI'S ACTING METHOD AND CONTROL THEORY: COMMONALITIES ACROSS TIME, PLACE, AND FIELD." Social Behavior and Personality: an international journal 32, no. 4 (2004): 329–40. http://dx.doi.org/10.2224/sbp.2004.32.4.329.

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Constantin Stanislavski revolutionized 20th century theater by developing a highly articulated and practical system of acting, now referred to simply as “the method.” Stanislavski's method presents a model of human behavior and motivation that is strikingly similar to the “control theory” of psychologists Charles Carver and Michael Scheier. These similarities are in the areas of (a) the regulation of behavior by goals, (b) the process of goal formation, (c) the hierarchical organization of behavior, (d) the disruption of goals by obstacles, (e) outcome expectancies, (f) the sequencing of behav

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Bident, Christophe. "A experiência interior como experiência de ator." Alea : Estudos Neolatinos 15, no. 2 (2013): 358–72. http://dx.doi.org/10.1590/s1517-106x2013000200007.

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Trata-se de voltar, com Georges Bataille, a um dos dramas mais excessivos e mais impossíveis de representar de A formação do ator, de Stanislavski: a cena chamada de "o dinheiro queimado". Se Tortsov, o mestre desse ensaio teatral que assume a forma de uma narrativa de formação, não cessa de fazer seus jovens atores repetirem essa cena, ao ponto de ela tornar-se um dos leitmotiven maiores do livro, é porque Stanislavski vê nela um limite para o mimodrama e o melodrama cujo domínio é necessário à atuação moderna do ator. Essa cena age como um episódio crítico do acontecimento da "encenação". Po

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38

Todoruț, Ilinca. "Stanislavski versus the Peasant Woman." Performance Research 28, no. 6 (2023): 23–31. http://dx.doi.org/10.1080/13528165.2023.2334616.

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Musilová, Martina. "“Я есмь“ – Stanislavski and Solovyov". Stanislavski Studies 8, № 1 (2019): 51–57. http://dx.doi.org/10.1080/20567790.2019.1700733.

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40

Phillips, Tom. "A Teacher Trainer Reads Stanislavski." Journal of Further and Higher Education 19, no. 3 (1995): 94–108. http://dx.doi.org/10.1080/0309877950190309.

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41

Khlystun, Olena. "Stanislavski's System as the Methodological Basis of the Art of Stage Impersonation." Bulletin of KNUKiM. Series in Arts, no. 36 (June 10, 2017): 48–57. https://doi.org/10.31866/2410-1176.36.2017.157677.

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The purpose of the article is to substantiate the significance of Stanislavski’s system as the methodological basis of the art of stage impersonation. The research methodology was based on the principles of consistency, using the analytical, classification, historical and typological methods of research. The scientific novelty of the work lies in the analysis of Stanislavski’s system as the methodological basis of the skill of actor’s impersonation of an artistic image. Conclusions. K. Stanislavski created a practically and scientifically grounded theory of actor’s stag

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42

De Gusmão, Henrique Buarque. "“O trabalho do ator sobre si mesmo” proposto por Constantin Stanislavski a partir do modelo narrativo do romance russo." Revista Territórios e Fronteiras 8, no. 2 (2015): 291. http://dx.doi.org/10.22228/rt-f.v8i2.411.

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Neste artigo, proponho que diferentes mecanismos narrativos de construção do personagem operacionalizados nos romances russos – com destaque para aqueles escritos por Liev Tolstoi – funcionam como matrizes do trabalho de ator proposto por Constantin Stanislavski. Assim, é discutido o papel que o romance teve nas reformulações da atuação cênica levadas adiante pelo diretor russo e propõe-se o caráter narrativo da noção de “trabalho de ator sobre si mesmo”, noção esta tão determinante nos textos de Stanislavski.Palavras-chave: Constantin Stanislavski; Liev Tolstoi; personagem.

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43

Zuo, Yanchen. "Interdisciplinary Research on the Integration of Stanney Action Analysis and AI Technology." Frontiers in Computing and Intelligent Systems 11, no. 2 (2025): 59–62. https://doi.org/10.54097/5epspx53.

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Since the 1980s, various theatrical performance schools have been introduced to China, opening another window for domestic art institutions that adhere solely to the Stanislavski system. People began to understand the characteristics of more performance schools. Although the traditional Stanislavski system still holds a dominant position, with the development of artistic diversity, its dominance has gradually diminished. Schools like Absurdism, Surrealism, Symbolism, and Expressionism have gained widespread recognition and development in China. The application of artificial intelligence in the

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Mihuț, Anca-Daniela. "La force d’abandonner le pouvoir : Stanislavski explorateur des vertus creatrices du subconscient." Cercetări teatrale 4, Special (2023): 55–81. http://dx.doi.org/10.46522/ct.2023.s1.04.

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A une époque dominée par l’intérêt pour la raison, la technique et le progrès, qui prenait le corps humain pour une « machine », sinon tout à fait pour une « usine », Stanislavski, inspiré par les théories de Freud, Ribot, mais aussi par les philosophies orientales et les études de William James, Pavlov et Secenov, tourne son attention vers le corps subtil des émotions et le subconscient. Il comprend que le subconscient ne peut pas être dominé ou contrôlé, mais seulement stimulé pour qu’il revèle ses potentialités créatrices. L’article explore certaines des directions de recherche suivies par

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Artemova, Evgenia G. "Current repertoire trends of Russian opera theaters (a review of the premieres of the 2023/2024 season of the Moscow opera)." Ученые записки Российской академии музыки имени Гнесиных 4, no. 51 (2024): 10–33. https://doi.org/10.56620/2227-9997-2024-4-10-33.

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Using the example of a review of new productions of the 2023/2024 season of three Moscow musical theaters, the article undertakes an analytical study of modern repertoire trends in Russian opera houses. The author’s focus includes premiere performances of the Helikon OperaThe Stanislavski and Nemirovich-Danchenko Moscow Academic Music Theatre and the New Opera, in particular, the following productions are considered: "Cherevichki", "Emperor of Atlantis" and "Madama Butterfly" at the Helikon Opera, "The Tsar’s Bride", "Not Only Love" and "Mermaid" at the MAMT K. S. Stanislavsky and Vl.I. Nemiro

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Pagani, Maria Pia, and Мария Пиа Пагани. "Stanislavski and the Knight of Ripafratta." Stanislavski Studies 2, no. 1 (2013): 268–86. http://dx.doi.org/10.1080/20567790.2013.11428601.

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Dunne, Joseph. "Stanislavski on Stage: The Benedetti Legacy." Stanislavski Studies 3, no. 2 (2015): 171–201. http://dx.doi.org/10.1080/20567790.2015.1079046.

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Hollands, Lavinia. "The Stanislavski system: ubiquitous yet fragmented." Stanislavski Studies 5, no. 1 (2017): 55–59. http://dx.doi.org/10.1080/20567790.2017.1295523.

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Carvalho, Sergio. "Stanislavski e a formação do ator." Sala Preta 19, no. 1 (2019): 260–75. http://dx.doi.org/10.11606/issn.2238-3867.v19i1p260-275.

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O artigo examina os sentidos da ideia de formação no conjunto da prática pedagógica do diretor russo Constantin Stanislavski como uma procura de ativação de dinâmicas relacionais capazes de se contraporem à lógica do efeito estético e mercantil. A postura implica reflexões de sentido ético e mesmo político apenas lateralmente nomeadas em sua obra.

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Klekovkin, Olexander. "Ukrainian Theatre: With and Without Stanislavski." ARTISTIC CULTURE. TOPICAL ISSUES, no. 18(2) (November 29, 2022): 62–66. http://dx.doi.org/10.31500/1992-5514.18(2).2022.269784.

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The paper attempts to reconstruct the principles of leading theatre schools of Ukraine in the 19th–20th centuries, the stages of implementation of Stanislavski’s ideas, of the aesthetics of his theatre, and his method in the Ukrainian theatrical culture. Despite the myths that since the very beginning of the Soviet rule total adherence to Stanislavski’ssystem and his method was imposed, the paper reveals no less dramatic though different theatre history and the point of no return: August 22nd, 1950, when the campaign for the advanced and the in-depth study of the System by Ukrainian theatre an

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