Amidst the turmoil of political revolution, the stage directors of twentieth-century Russia rewrote the rules of theatre making. From realism to the avant-garde, politics to postmodernism, and revolution to repression, these practitioners shaped perceptions of theatre direction across the world. This edited volume introduces students and practitioners alike to the innovations of Russia's directors, from Konstantin Stanislavsky and Vsevolod Meyerhold to Anatoly Efros, Oleg Efremov and Genrietta Ianovskaia. Strongly practical in its approach, Russian Theatre in Practice: The Director's Guide equips readers with an understanding of the varying approaches of each director, as well as the opportunity to participate and explore their ideas in practice. The full range of the director's role is covered, including work on text, rehearsal technique, space and proxemics, audience theory and characterization. Each chapter focuses on one director, exploring their historical context, and combining an examination of their directing theory and technique with practical exercises for use in classroom or rehearsal settings. Through their ground-breaking ideas and techniques, Russia's directors still demand our attention, and in this volume they come to life as a powerful resource for today's theatre makers.

Whilst education has been widely recognised as a key tool for development, this has tended to be limited to the incremental changes that education can bring about within a given development paradigm, as opposed to its role in challenging dominant conceptions and practices of development and creating alternatives. Through a collection of insightful and provocative chapters, this book will examine the role of learning in shaping new discourses and practices of development. By drawing on contributions from activists, researchers, education and development practitioners from around the world, this book situates learning within the wider political and cultural economies of development. It critically explores if and how learning can shape processes of societal transformation, and consequently a new language and practice of development. This includes offering critical accounts of popular, informal and non-formal learning processes, as well as the contribution of indigenous knowledges, in providing spaces for the co-production of knowledge, thinking and action on development, and in terms of shaping the ways in which citizens engage with and create new understandings of 'development' itself. This book makes an important and original contribution by reframing educational practices and processes in relation to broader global struggles for justice, voice and development in a rapidly changing development landscape.

Whilst education has been widely recognised as a key tool for development, this has tended to be limited to the incremental changes that education can bring about within a given development paradigm, as opposed to its role in challenging dominant conceptions and practices of development and creating alternatives. Through a collection of insightful and provocative chapters, this book will examine the role of learning in shaping new discourses and practices of development. By drawing on contributions from activists, researchers, education and development practitioners from around the world, this book situates learning within the wider political and cultural economies of development. It critically explores if and how learning can shape processes of societal transformation, and consequently a new language and practice of development. This includes offering critical accounts of popular, informal and non-formal learning processes, as well as the contribution of indigenous knowledges, in providing spaces for the co-production of knowledge, thinking and action on development, and in terms of shaping the ways in which citizens engage with and create new understandings of 'development' itself. This book makes an important and original contribution by reframing educational practices and processes in relation to broader global struggles for justice, voice and development in a rapidly changing development landscape.

Amidst the turmoil of political revolution, the stage directors of twentieth-century Russia rewrote the rules of theatre making. From realism to the avant-garde, politics to postmodernism, and revolution to repression, these practitioners shaped perceptions of theatre direction across the world. This edited volume introduces students and practitioners alike to the innovations of Russia's directors, from Konstantin Stanislavsky and Vsevolod Meyerhold to Anatoly Efros, Oleg Efremov and Genrietta Ianovskaia. Strongly practical in its approach, Russian Theatre in Practice: The Director's Guide equips readers with an understanding of the varying approaches of each director, as well as the opportunity to participate and explore their ideas in practice. The full range of the director's role is covered, including work on text, rehearsal technique, space and proxemics, audience theory and characterization. Each chapter focuses on one director, exploring their historical context, and combining an examination of their directing theory and technique with practical exercises for use in classroom or rehearsal settings. Through their ground-breaking ideas and techniques, Russia's directors still demand our attention, and in this volume they come to life as a powerful resource for today's theatre makers.

This book offers a rich analysis of collage practices in the theatre of Vsevolod Meyerhold. Focusing on the philosophical and formal tenets of the form, and supporting her analysis with wide-ranging examples from both theatre and fine art, Amy Skinner develops collage as a framework for reading the whole of the theatrical experience, from scenography and mise-en-scene to text and spectatorship. An innovative exploration of the influence of collage on twentieth- and twenty-first-century theatre, Meyerhold and the Cubists will be essential reading for theatre scholars and practitioners alike.