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About the workshop

 In recent years theater education (as well as the entire system of education) is experiencing some form of deformation, rather than going through times of crisis. This deformation is related primarily to the imbalance of teaching methodologies of directing and acting. In the 80s and the 90s, due to natural causes, gradual weathering away afflicted the strict method system of Stanislavsky, which has long been underpinned in any drama school - whether School Studio MHT, RATA (GITIS), Schepkin or Shchukin School.

As mountains are exposed to natural erosion and so the method of KS Stanislavsky largely was " worn out." The impact of new theatrical trends, new names and directing systems eroded its real or imaginary inventions and innovations. There were new theater schools, revived the old - school was rehabilitated Michael Chekhov, Meyerhold method restored biomechanics, penetrated trends Japanese and Chinese theaters, European quest Brook, Grotowski and many other masters of theater. Russian theater schools were open to all the winds and open to each incoming force. This, in turn, affected the theater itself, which became polyphonic and multi-lingual. Multilingual problems and disunity of the theatrical process - the main problem faced by the professional education of students today. This is largely due, of course, to the fact that there is no basis of theatrical language in theatrical universities.

Today, when the theater has experienced nearly a decade of disunity as ever there is a need to re-learn, to teach students not theater " phrasebook " clichéd phrases or to communicate with ignorance of the basics of grammar stage language, but to above all, learn the principle ABC Theatre Arts .

For a long time the system of domestic theatrical education forcibly introduces methods KS Stanislavsky, gradually turning into an emasculated dogma and causing natural rejection. Even today, there is a need to return the origins of theater education to theatrical language, because it is clear that without mastering the basics of "ABC" stage existence it becomes impossible to move forward. Technical training - is the heart of everything. As artists learn drawing and composition (and this - their technique), so is the actor is required to control the body and the mental apparatus, and the director must possess a dramatic analysis of the text and guide the actor's task. The main pedagogical paradigm for the professional education of the student - directed is that the methodology KS Stanislavsky and the matter was perceived not as an ossified theory, but as a living and evolving system - the foundation on which is erected a constantly changing building modern theatrical life . Everything is possible - and AN Ostrovsky , and Samuel Beckett, and Bertolt Brecht and Artaud Antoine and Jean Cocteau and Vs.E. Meyerhold and Ev.B. Vakhtangov - based on the writings "An actor prepares.”

In this case there is no point pinning systems and methods against each other - each system is taken from practical content, creating a polyphony and diverse palette of simple theatrical truths. Any methodology – is not a tutorial, and, as the King of the Schwartz “Cinderella," said, "No connections will help make the leg slender, the soul big, and the heart noble." Stanislavsky taught the truth and accuracy, and after him, you can apply that accuracy to the slightest gesture, the estimation of accuracy and precision in all terms of performance, accuracy - there is the path that leads students from amateurism to professionalism present.


M. S. Makharadze December 2011 Moscow

 

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© 2011 Мастерская Махарадзе

E-mail: merodeon@mail.ru