The Darmstadt School of Dramatic Art Project (1900) and Its Convergences with the Stanislavski System
Keywords:
Darmstadt, School of Dramatic Art, Joseph Maria Olbrich, Hermann Bahr, StanislavskiAbstract
The present article relates a little known dramatic art school project, linked to the Darmstadt Artists’ Colony, designed by Joseph Maria Olbrich and Hermann Bahr in 1900, to Stanislavski’s System. The main objective is to identify the convergences and the foundations and methodologies they shared. To this end, I have drawn on G. Bott’s 1974 publication of Ida Grünwald’s typewritten transcription of the original document handwritten by Olbrich and Bahr that they gave to the Grand Duke. Stanislavski’s complete bibliography published by Quetzal directly translated from Russian has also been essential. Similarly, I have used other primary sources on both cases, as well as some previous studies about them. The article shows that, despite the significant aesthetic differences, there were notable similarities in the pedagogies proposed in both projects, and concludes that, perhaps, the fact that the Darmstadt project never materialised was because it was ahead of its time.
References
Anónimo. «A New Theatrical Movement in Germany and the Help Rendered to it by an English Actress». The Tatler, (online), 29, (31 julio 1901b).
Anónimo. «Die Ausstellung der Darmstädter Künstler-Kolonie». Darmstadter Zeitung: amtliches Organ der Hessischen Landesregierung, vol. 1, (17 mayo 1901a).
Assmann, F. Deutschland Theaterschulen im 18. und 19. Jahrhundert (ebook), (1921). Disponible en: <https://bit.ly/2VT1Lm2> (Consulta: 30 marzo 2019).
Bahr, H., Olbrich, J. M., Bott, G. y Herzog, E. Kunst in Hessen und am Mittelrhein (XIV). Darmstadt: E. Roether, 1900, ed. 1974.
Benedetti, J. Stanislavski. His Life and Art. North Yorkshire: Methuen, 1999.
Boehe, J. y VV. AA. Von Morris zum Bauhaus. Eine Kunst gegrundet auf Einfachheit: Theater und Jugendstil-Feste des Lebens und der Kunst. Hanau: Hans Peters Verlag, 1977.
Carnicke, S. M. Stanislavski in Focus: An Acting Master for the Twenty-First Century. Londres: Routledge, 2.ª edición, 2008.
Dehart, S. The History and Legacy of Georg II Von Sachsen-Meiningen and His Theater. Baltimore: Johns Hopkins University, 1979.
Fuchs, G. «Zur Neugestaltung der Schau-Bühne». Deutsche Kunst und Dekoration: illustr. Monatshefte fur moderne Malerei, Plastik, Architektur, Wohnungskunst u. kunstlerisches Frauen-Arbeiten, 7, (1900).
Fuchs, G. Die Schaubuhne der Zukunft, Berlín: Schuster & Loeffler, 1905.
Haldey, O. Mamontov’s Private Opera and the Search for Modernism in Russian Theater. Estados Unidos: Indiana University Press, 23 junio 2010.
Holzamer, W. Spiele, Mit Zeichnungen von Olbrich. Leipzig: Eugen Diederichs, 1901.
Huntly, C. The New Spirit in the Russian Theatre 1917-28. Nueva York: Brentano, 1929.
Lackner, P. Schauspielerausbildung an den öffentlichen Theaterschulen der Bundesrepublik Deutschland. Fráncfort del Meno: P. Lang, 1985.
Lorente, J. El ideal del mouseion reinterpretado como colonia artística en las afueras de Darmstadt y Hagen. Espacio, Tiempo y Forma. Serie VII, Historia del Arte (online), 83, (2014).
Magarshack, D. Stanislavski, A Life, Londres: Faber and Faber, 1986.
McCannon, J. «Passageways to Wisdom: Nicholas Roerich, the Dramas of Maurice Maeterlinck, and Symbols of Spiritual Enlightenment», Russian Review, 64.3, (julio 2004).
Pelletieri, O. Tendencias criticas en el teatro, 1998, Grupo de Estudios de teatro argentino.
Ribot, T., Rubio, R., Fe, F. y SuáRez, V. Psicologia de la atencion (1899). Buenos Aires: Ediciones Modernas Prometeo, 1943.
Roslavleva, N. Stanislavski and the Ballet. Nueva York: Dance Perspectives, Inc., 1965, (23).
Stanislavski, C. Trabajos teatrales. Traducción de Luis Sepúlveda. Buenos Aires: Quetzal, 1907-1938, ed. 1986.
Stanislavski, C. Traducción de Luis Sepúlveda. Mi vida en el arte. Buenos Aires: Quetzal, 1924, ed. 1993.
Stanislavski, C. El trabajo del actor sobre si mismo, en el proceso creador de las vivencias. Traducción de Luis Sepúlveda. Buenos Aires: Quetzal, 1936a,
ed. 1980.
Stanislavski, C. El trabajo del actor sobre si mismo, en el proceso creador de la encarnacion. Traducción de Luis Sepúlveda. Buenos Aires: Quetzal, 1936b, ed. 1979.
Stanislavski, C El trabajo del actor sobre su papel. Traducción de Luis Sepúlveda. Buenos Aires: Quetzal, 1957, ed. 1977.
Toporkov, V. O. Stanislavski dirige: Teoria y Practica del Teatro. Buenos Aires: Compañía General Fabril Editores, 1961.
Turk, H. Theater und Drama: theoretische Konzepte von Corneille bis Durrenmatt. Tubinga: Gunter Narr Verlag, 1992.
Vinzenz, A. Vision ‘Gesamtkunstwerk’. Performative Interaktion als kunstlerische Form. Bielefeld: Verlag, 2018.
White, R. A. Stanislavski and Ramacharaka: The Influence of Yoga and Turn-of-the-Century Occultism on the System, Cambridge University Press, Theatre Survey, nº 47, 2006.
Whyman, R. The Stanislavski System of Acting. Legacy and Influence in Modern Performance. Cambridge: Cambridge University Press, 2008.
Woodrow Myers, R. A Translation and Critical Analysis of the Letters of Mikhail Semyonovich Shchepkin. Texas Tech University, 1985.
Zumhof, T. Die Erziehung und Bildung der Schauspieler. Gotinga: Vandenhoeck & Ruprecht, 2018.
