Theatre PhD JAMU - View BookProceedingLectureFront

Abstract

What are the possible innovative methods to be developed when aiming towards justifying a non-totalitarian and non-autocratic dimension of the profession?

Such a symposium tells us that the tendencies are good. Theatre is in search of new level of freedom.
These tendencies are not new. Theatre has always been a place of freedom, or at least a place where people are in search of freedom, regardless the regime of a country or its social habits.
The beginning of changes in theatre routine should be in theatre education, because during education, the very first seeds are planted in the organism of an actor or a director. Students should be taught and grown up as free creative people – not “doers”, not those who do what they are told to. This is the starting point: place the will to act, to create into the actor.
A few words about my approach to working with students. The approach, the method is based on “late” works of K. Stanislavsky and works of N. Demidov. The accent in these methods is on the student and his creative potential. Work on the talent of exact student – not pulling the student to a personal “ideal” of a director/teacher.
Examples of the result of using this method in a video: parts of the “Betrayal” (by H. Pinter) performance made with students of the third year in Russian State Institute of Performing Arts in St. Petersburg. What is a “Creative cauldron”? Freedom and democracy between equal partners with the leadership of the director.

Author’s CV

Date of birth – 20. 12. 1989

City of Residence – Warsaw, Poland

Professional preparation:

2019–(2023) – doctoral student at National Higher School of Film, Television and Theatre named after Leon Schiller in Lodz, Poland

2011–2016 – Russian State Institute of Performing Arts (ex-Saint-Petersburg State Theatre Arts Academy), class of professor Veniamin Filshtinsky. Major: directing/acting/teaching.

Teaching experience (selected):

2020, 2019, 2018 – workshop at School of acting ETI in Berlin, Germany

2019 – workshop at Civica Accademia d’Arte Drammatica named after Nico Pepe in Udine, Italy

2018 – workshop at National Higher School of Film, Television and Theatre L. Schiller in Lodz, Poland

2017 – workshop in PWST im. L. Solskiego in Cracow, Poland

2015, October – workshop during the UWE festival in Munich, Germany

2015, July – workshop during the European Young Theatre (part of “Dei due Mondi”) festival in Spoleto, Italy

2015, April – workshop during the Setkání/Encounter festival in Brno, Czech Republic

2014 – nine-day intensive workshop in “Zagłębia” theatre in Sosnowiec, Poland

2012 – workshop in Nowy Theatre in Poznań, Poland

Directing works (selected):

2020 – “Coronation” (M. Modzelewski; Studio STA, Poznan, Poland)

2018 – “Betrayal” (by H. Pinter; Institute theatre on Mokhovaya street, St. Petersburg, Russia)

2017 – “Out of coverage area” (by P. Wüllenweber; TYUZ A. A. Bryantseva, St. Petersburg; special prize of the expert council of the Highest Theatre Prize of St. Petersburg “Golden sofit” for the debut of Anna Migizko)

2014 – “I, Iago” (based on “Othello” by W. Shakespeare; solo performance, international theatre project)

Festivals, laboratories, conferences, awards (selected):

2017 – “/Not/Innovative methods of working with students” report on the “In search of the method” conference in AST im. S. Wyspiańskiego in Cracow, Poland

2017 – special prize of the expert council of the Highest Theatre Prize of St. Petersburg “Golden sofit” (“Zolotoj sofit”) for the debut of Anna Migizko, the role of Hertruda)

2016 – Setkání/Encounter festival – “I, Iago” solo performance based on “Othello” by W. Shakespeare; international theatre project (Brno, Czech Republic)

2014 – European Young Theatre festival (part of Dei Due Mondi festival) – “I, Iago” solo performance based on “Othello” by W. Shakespeare; international theatre project (Spoleto, Italy)

2013 – “The tale of a Fisherman and the Fish. The Fantasy” by A. Pushkin – Best Actor Award at XI. International Directing Workshops at Shchukin’s Institute (Moscow, Russia)

Media

1 (numbers of pictures, which are mentioned in the lecture) An early picture, a loose imagination of the set designer in connection to the whole play. Later it became a part of the performance