Produktbild: Stanislavsky in the World

Stanislavsky in the World The System and its Transformations Across Continents

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Beschreibung

Produktdetails

Einband

Gebundene Ausgabe

Erscheinungsdatum

18.05.2017

Herausgeber

Pitches Jonathan + weitere

Verlag

Bloomsbury Academic

Seitenzahl

480

Maße (L/B/H)

24/16,1/3 cm

Gewicht

880 g

Sprache

Englisch

ISBN

978-1-4725-8787-9

Beschreibung

Produktdetails

Einband

Gebundene Ausgabe

Erscheinungsdatum

18.05.2017

Herausgeber

Verlag

Bloomsbury Academic

Seitenzahl

480

Maße (L/B/H)

24/16,1/3 cm

Gewicht

880 g

Sprache

Englisch

ISBN

978-1-4725-8787-9

Herstelleradresse

Libri GmbH
Europaallee 1
36244 Bad Hersfeld
DE

Email: gpsr@libri.de

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  • Produktbild: Stanislavsky in the World
  • Contents Acknowledgements Notes on transliteration Figures INTRODUCTIONS 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 Pitches PART 1: EUROPE Introduction 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 Gaitanidi PART 2: CHINA AND JAPAN Introduction 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 Nakayama PART 3: LATIN AMERICA Introduction 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 Serrano PART 4: AFRICA Introduction 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 Peimer PART 5: AUSTRALASIA Introduction 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 Halba PART 6: INDIA AND BANGLADESH Introduction 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 Ahmed Notes on Contributors Index