2 November 2014, Articles
Nemira Publishing House brought into public view the four books of the Yorick collection which it wanted to launch on Thursday as part of the National Theatre Festival.
An article by Maria Sârbu
First ,the people interested in theatre literature were told of the George Banu’s paper “The Modern Stage. Mythology and miniatures” (translated by Vlad Russo). According to the editor, the author proposes a “poetical view on the modern stage, whose <<mitologies>> he notices and passes along”. George Banu is akin to a guide, orienting the reader within the “multiplicity” of contemporary shows.
Then, majour attention was given to the three books which came, as they say, as a package deal: “The work of the actor with himself”( Vol. II), by K.S. Stanislavski, “Empty Space” by Peter Brook, “Theatre and Ritual. Essential Writings” by Jerzy Grotowski.
Also present were Marina Constantinescu, artistic director of the National Theatre Festival, actress Oana Pellea, who read a fragment from Stanislavski’s work, critic and essayist George Banu, professor Miklós Bács, Raluca Rădulescu- translator of “The work of the actor with himself”, Monica Andronescu, coordinator of the Yorick collection and Valentin Nicolau, manager of Namira Publishing House.
The fact that the second book of Stanislavski’s study, “The work of the actor with himself” is accompanied by an essay of Grotowski, titled “Reply to Stanislavski” has been remarked upon, and the edition “proposes to be a dialogue in time, between to great creators who shaped the history of theatre”.
George Banu performed a radiography of the world of theatre, from the perspective of the three great creators’ importance- Stanislavski, Grotowski and Brook. The reputable theatre enthusiast wanted to mention that Stanislavski (Russian director and theoretician, reformer of Russian theatre) was “installed” throughout the world by his disciples.
When young actors would leave Russian, especially in the 20’s and 30’s ,they’d carry in their briefcases the works of Stanislavski. They were the ones who carried the method of their professor far into the world. “Stanislavski enjoyed this planetary success thanks to the Russian actors who left their country.
They were his ambassadors on the globe. Stanislavski is a great master saved by his pupils, who saw a role-model in him…Stanislavski was the companion of Russian emigrants”, George Banu said.
He then made references to “Stanislavski’s line, whose role was especially important for the way of thinking and the theatrical practices of Europe”, a line to which “two great figures subscribe: Grotowski, who redeemed himself as being stanislavskian, and Brook, who Is also Russian in origins. They both payed great attention to the thoughts and practices of Stanislavsky.
“The Texts present themselves as guides for the young actors, young creators. The publishing of these three texts togethers seems to me to be a wholly significant event, evidently destined. From Stanislavski to Grotowski and Brook, this line of trusting to perfect the actor may be drawn, as well as the fact that being fulfilled as an actor means being fulfilled as a human being (…).
Stanislavski, as well as Grotowski and Brooks, creating this model- not just of the interpreting actor, but of the actor-creator, the actor who builds a biography acting”, George Banu also said, who very much appreciated the efforts of Raluca Radulescu.
He added that, alongside a friend, he is trying, in Paris, to publish a French translation of Stanislavski directly from Russian, without transitioning through the English versions”. “Restoring the work of Stanislavski bibliographically is an extremely important act for today and for tomorrow” the great theatre specialist underlined.
Photo: Maria Ştefănescu