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as it evolved. Other studios, such as the Opera Studio and the Fourth Studio, are omit- ted because their goals differed from her focus. The work's second theme emerges from the details about the rehearsals. More interesting than Stanislavsky's participation in the studios is his relative absence. Gauss correctly points out how much the development of his "system" owed to other individuals. Proteges, including Leopold Sulerzhitskii, Mikhail Chekhov, and Evgenii Vakhtangov, who were extraordinary talents in their own right, conducted the bulk of the exercises. They and other directors mounted the productions. Although Stanislav- sky inspired them and his students truly adored him, he often tinkered with produc- t i o n s only late in the process or criticized them after the openings. The book's title, Stanislavsky's own reference to the studios as "faithless daughters," reveals his am- bivalence toward their output even as he relied on them for ideas. (p. 74) To reach these conclusions, Gauss primarily uses familiar, published sources: memoirs of participants, .collected letters, and secondary works. She does not seem to be especially critical of them. Although she refers to contemporary press accounts in the bibliography, they receive little attention in her study
Canadian-American Slavic Studies – Brill
Published: Jan 1, 2002
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