'Isaac Butler examines Stanislavski and his descendants as a many-headed hydra of theory.' | Dmitry Samarov
Stanislavski sought to change that. His greatest ambition, defined and redefined endlessly over decades, was for an actor to inhabit their role from the inside. The Russian word for this idea isbut is more like some kind of special empathy, or maybe a livingWhatever it is, the road to get there would be fought over mercilessly by every practitioner and acolyte who came into contact with it.
It was Boleslavsky and Maria Ouspenskaya, another Stanislavski veteran, who established the first outlet for his gospel in the U.S. in 1922 with the American Laboratory Theatre, following a well-received MAT tour that featured revivals ofand other mainstays of the company’s repertory. At the time the American theater scene was in its infancy and hopelessly beholden to the same 18th- and 19th-century conventions prevalent in Russia decades earlier.
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