Director:
- Sharon Marie Carnicke
The Advisory Board:
- Setrak Bronzian
- Sarah Dixon
- Alicia Grosso
- Baron Kelly
- Egil Kipste
- Mary Joan Negro
- Juan Vaquer
- R. Andrew White
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| THE MISSION:
•To bring Stanislavsky’s System of actor training into clear and accurate focus for the 21st century performer.
•To dispel inaccurate, old-fashioned, and patriarchal images of Stanislavsky that tie him inappropriately to the past.
•To promote Stanislavsky’s Active Analysis—a rehearsal technique that fosters the flexibility actors need to confront the full range of today’s performance styles and the rapidly changing technologies that now frame their art.
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FROM THE DIRECTOR:
“When an acting teacher of mine asked me to look up a term in Stanislavsky’s Russian language books, I was astonished by what I found. The Russian Stanislavsky was much more forward-looking an artist than the commonly accepted Americanized portrait of him.
•If you think of Stanislavsky as single-mindedly committed to psychological realism, consider his words: “My System begins where realism ends.”*
• If you think of him as tyrannical, remember what he said to actor Olga Knipper during rehearsals for his 1907 symbolist production of The Drama of Life: “I consider it my duty to give you full freedom in the treatment of your role.”*
• If you think of Stanislavsky as patriarchal, know that in 1937 he cast a young woman, Irina Rozanova, as Hamlet at his Opera-Dramatic Studio; he told her, “Hamlet will be your university.”*
I like this Russian Stanislavsky! And, on behalf of The Stanislavsky Institute for the 21st Century, I invite you to meet him as well.”
Sharon M. Carnicke
*See Carnicke’s Stanislavsky in Focus: An Acting Master for the Twenty-First Century (2nd ed., Routledge, 2009), 1-2.
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