Book, Last Stanislavsky in Action, The: essays for a new method[LS]

In addition to analyzing the performance of director Konstantin Stanislavski in his late period, Diego Moschkovich brings to the reader the complete and unpublished translation of the great Russian master's class stenograms. This results in important material for understanding the thinking and methodology applied by him in his last Studio, the Opera and Dramatic Art Studio. FOURTH COVER It is common to divide Stanislavsky's career into two moments: that of the young director, romantic experimenter, and that of the mature man systematizer, scientist and creator of a working method that became known everywhere as the “method of physical actions”. . THE LAST STANISLÁVSKI IN ACTION questions this split and seeks to contextualize and present the artistic and pedagogical practice of Konstantin Stanislavski in his last Studio. Based on his complete and unpublished translation, with notes and comments, of sixteen class stenograms found in the Archives of the Moscow Art Theater Museum, Diego Moschkovich historically contextualizes the creation of the Opera and Dramatic Art Studio, analyzes the pedagogical practices of actor training proposed by the Russian master and addresses his experiences in the search for the creation of a “new working method”, as well as the controversies that occurred after his death in relation to this method. What stands out, instead of the image of the wise creator and undisputed genius, is the tireless work of a true experimenter, who tested, made mistakes, corrected, and who, above all, was never afraid of the unknown, of advancing towards the unmapped regions of the world. artistic creation. EAR by Nair D'Agostini In 2007, Diego crossed the Atlantic towards Russia, in search of a family of knowledge. Thirty years earlier, in 1978, I also ventured in search of roots that would make me belong to a theatrical tradition. While Diego left with the right destination, Saint Petersburg, I, ignoring the direction I would take in the vast Soviet Union, also anchored in the same city, which was then called Leningrad. Diego, by his own choice, and I, by luck, under different historical conditions, arrived at the Leningrad State Institute of Theatre, Music and Cinema (LGITMiK), a renowned state institution for theater education. He, as a student, and I, as a master's student. There, we received training based on the legacy of the System with masters of high pedagogical competence within the principles of Stanislavski's thought. Despite the temporal distance and the different historical contexts in which our formation took place, I consider that we have common roots: we are permeated by the same discourses, we are children of the same heritage, the same knowledge, which flows and resonates within us, which underpins our practices. as pedagogues, creators, researchers and even as artists-human beings, in our ethical and aesthetic procedures. Once in Brazil, Diego throws himself – boldly – ​​into the most varied creative and professional experiments. Asserting himself as a creative researcher in the role of director, he combines his work as a teacher and as a translator of countless works that integrate the knowledge of Russian theater, of which we are still so lacking. He also invests in continuing his academic training, and now we have in our hands the fruits of his master's degree, of which I had the immense pleasure of participating in the evaluation panel. In addition to the invaluable translation of the stenograms from Stanislavski's last Studio, Diego provides us with an in-depth study and reflection on these latest experiments by the Russian master. The work, which now receives another edition of the CLAPS partnership with Perspectiva, increasingly fills the existing gaps in our country in the transmission of essential knowledge for the training of the director, the creative actor and the theatrical art as a whole . This relevant edition is a testimony to how restless Stanislavski was in the search for an art in a constant process that always requires new investigations, and its importance for theater pedagogy, for professionals and students of theatrical art is undeniable. CLAPS COLLECTION Stanislavski Latin American Research Center The initiative of Teatro Escola Macunaíma in partnership with the publisher Perspectiva brings to the Brazilian reader books on the practice and training for students and professionals linked to the arts of staging, with the work and the fundamental performance of the great Russian master, Constantin Stanislavski, whose method and whose performance as a thinking director was inaugural for modern and contemporary theater. The titles are selected by the Claps editorial committee. FROM THE COVER The collection's covers are inspired by Mondrian's famous constructivist paintings from the beginning of the 20th century, a time of great agitation and cultural creation in revolutionary Russia, a period of great transformations in theater in that country.