Students will concentrate their work in the following areas:
special breathing technique;
relaxation exercises and basics of meditation;
imagination and boldness on stage;
emotional memory and emotional awareness;
partner and stage interaction;
creative games and stage freedom;
basics of psychoanalysis and text analysis.
Our movement training is based on the teaching of Andrey Droznin. It is a combination of the tradition of Russian psychological theatre (Stanislavsky and Evgeni Vakhtangov) with the crucial discoveries of Russian avant-garde directors of the 20th century (Meyerhold biomechanics, Tairoff's elastic training, emphasized space of Les Kurbas, etc.)
The program includes elements of stage, circus and trick acrobatics; locomotor skills – walking, jogging, jumping, hurdling, falls; stage combat and slow motion technique.
Students will be working on some of the following plays:
Anton Chekhov: Ivanov, The Cherry Orchard, Uncle Vanya, The Seagull, Three Sisters
Alexander Ostrovsky: Diary of A Scoundrel, Talents & Admirers, The Storm.
Ivan Turgenev: Month in the Country
In preparation for the Summer School we recommend that you read:
Konstantin Stanislavsky. My Life In Art and An Actor Prepares.
Michael Chekhov. Technique of Acting.
Articles by Evgeny Vakhtangov and Vasily Toporkov in Actors on Acting
Main topics for this class will include the following:
The personality of Stanislavsky in his unpublished diaries and letters.How is the new theatre coming about.
The Stanislavsky System: myth and reality.
Stanislavsky in the context of Russian and world theatre (Stanislavsky and Meyerhold, Stanislavsky and Brecht, Stanislavsky and contemporary theatre.)
America in the life of the Moscow Art Theatre.
Beyond My Life In Art (Stanislavsky after the revolution.)
Jean Benedetti. The Moscow Art Theatre Letters.
Mikhail Bulgakov. Black Snow.
Donald Rayfield. Anton Chekhov: A Life
Anatoly Smeliansky. Is Comrade Bulgakov Dead?..