Foreword
Translator’s Note
introduction
chapter i yoga in the theatre practice of stanislavsky
Stanislavsky’s Acquaintance with Yoga
Yoga in the First Studio of the Moscow Art Theatre
Yoga in Stanislavsky’s Classes with Actors of the Moscow Art Theatre and the Second Studio in the late 1910s and the 1920s
Yoga in the Opera Studio
Yoga and the Late Period of Stanislavsky’s Work (1930s)
chapter ii yoga in the literary heritage of stanislavsky
Yoga of the Twentieth Century and its Ancient Roots
A Comparative Reading of Stanislavsky and Ramacharaka
chapter iii yoga elements of the stanislavsky system
Relaxation of Muscles (Muscular Release)
Communication and Prana
Attention
Visualizations (Mental Images)
Superconscious
‘I am’
Conclusion
Bibliography
Index
Biography
Sergei Tcherkasski, Vreneli Farber
The final chapter explores the broader correspondences and divergences between the System and core elements of yoga. In this careful study, Tcherkasski makes a strong case for the continuity, rather than the oft-cited break, between old and new Stanislavsky, and illuminates the significance of yoga to modern actor training in and beyond Stanislavsky’s works.
Coleman Nye, The Drama Review, Volume 62, Number 3, Fall 2018
