Advertisement

Salvaging Strasberg at the Fin De Siècle

  • Marc Gordon
Chapter

Abstract

In June 1997, the Moscow Art Theatre organized an international conference to celebrate its centennial. Robert Brustein, on his first visit to Russia, described the atmosphere as more like a peace conference than a theatre conference. Brustein writes: ‘[T]he whole complicated affair had been carefully engineered by the theatre’s brilliant and personable literary director, Anatoly Smeliansky—an expert ironically enough, on Mikhail Bulgakov, one of Stanislavskys most unforgiving critics.” Recognizing that many of the old rivalries were represented at the conference— including Yuri Lyubimov, former director of the Taganka Theatre and a follower of Meyerhold—Brustein concludes: “The chorus of praise for Stanislavsky and the ecumenical atmosphere of the proceedings were somewhat surprising—considering how many present had broken off into radically different theatrical directions.”1 In short, the conference became a forum for unity between Stanislavsky and those who diverged from his Russian System.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Notes

  1. 1.
    Robert Brustein, “The Heritage of MAT,” The New Republic 217.6-7 (August 11, 1997): 29.Google Scholar
  2. 3.
    Richard Hornby, The End of Acting: A Radical View (New York: Applause, 1992), 5Google Scholar
  3. John Harrop, Acting (London: Roudedge, 1992).CrossRefGoogle Scholar
  4. 4.
    Christine Edwards, The Stanislavski Heritage: Its Contribution to the American and Russian Theatre (New York: New York University Press, 1965), 271.Google Scholar
  5. 6.
    Ronald A. Willis, “American Laboratory Theatre,” TDR 9.1 (Fall 1964): 115.Google Scholar
  6. 7.
    Foster Hirsch, A Method to Their Madness: A History of the Actors Studio (New York: Norton, 1984), 72.Google Scholar
  7. 8.
    Wendy Smith, Real Life Drama: The Group Theatre and America (New York: Alfred A. Knopf, 1990), 424–25.Google Scholar
  8. 10.
    Marianne Conroy, “Acting Out: Method Acting, The National Culture, and the Middlebrow Disposition in Cold War America,” Criticism: A Quarterly for Literature and the Arts 35.2 (Spring 1993): 247.Google Scholar
  9. 14.
    Elia Kazan, A Life (New York: Alfred A. Knopf, 1988), 143.Google Scholar
  10. 15.
    Stephen Harvey, “Another Mans Method,” American Film 8.7 (1983): 69.Google Scholar
  11. 18.
    See Foster Hirsh, “The Actors Studio at 50,” for testimonials by Method actors, American Theatre 15.1 (January 1998): 24–29.Google Scholar
  12. 19.
    Marvin Carlson, Theories of the Theatre (Ithaca, NY: Cornell University Press, 1984), 377.Google Scholar
  13. 20.
    [Euvgeny] Vakhtangov, “Preparing for the Role,” Acting: A Handbook of the Stanislavski Method, Toby Cole, ed., B. E. Zakhara, tr. (New York: Crown Trade, 1955), 120.Google Scholar
  14. 21.
    Mel Gordon, The Stanislavsky Technique (New York: Applause, 1987), 83.Google Scholar
  15. 30.
    Sanford Meisner, “The Reality of Doing,” TDR 9.1 (Fall 1964): 140.Google Scholar
  16. 31.
    Stella Adler, “The Reality of Doing,” TDR 9.1 (Fall 1964): 141.Google Scholar
  17. 32.
    Sharon M. Carnicke, “Stanislavsky: Uncensored and Unabridged,” TDR 37.1 (Spring 1993): 24Google Scholar
  18. 33.
    Joseph R. Roach, The Player’s Passion: Studies in the Science of Acting (Ann Arbor: University of Michigan Press, 1993), 213.Google Scholar

Copyright information

© David Krasner 2000

Authors and Affiliations

  • Marc Gordon

There are no affiliations available

Personalised recommendations