Stanislavskio sistemos (ne)aktualumas XXI a. lietuvių teatre ir teatro mokykloje

LTStraipsnyje nagrinėjama, kiek Stanislavskio sistema kaip aktorių rengimo ir kūrybos metodas gali būti aktuali lietuvių teatrui ir teatro mokyklai: kokie sistemos aspektai atrodo atgyvenę, o kokie – vis dar perspektyvūs. Pristatomi šiuolaikiniai Stanislavskio sistemos tyrimai ir jos taikymo teatre bei teatro pedagogikoje galimybės. Keliamas lietuvių teatro mokyklos tapatybės klausimas, aptariamos jos šaknys, raida ir ateities perspektyvos.

ENAs a result of historical circumstances, the identity of Lithuanian theatre has had strong connections with Russian theatre culture and the Stanislavski system. In today’s world (and in Russia as well), there are different approaches to the method as well as to theatrical pedagogy based on it. It is criticised and rejected by some for not meeting the needs of postmodern culture, while others, on the contrary, appreciate it as a universal technique of actor’s work which one can use in theatre of different styles, aesthetics and ideologies. The Stanislavski system was a product of its time, not in the sense of being effective only in the theatre following the psychological realism model, but rather in the sense that it was rooted in the concept of a personality and an individual of that time. Moreover, an actor abiding by the Stanislavski system has to be able to accommodate in himself the world of the character he plays. However, contemporary culture is the culture of detachment, not identification. Hardly anybody believes either in identification, or in a solid personality. Yet, it would be correct to scorn and dispose the method, which gives a framework for most actors’ training programs existing today in Lithuania. Some aspects of Stanislavski’s teaching, for example, the method of physical actions, are still being used successfully in contemporary Lithuanian theatre. However, a school that orientates actors only to already established theatrical practices has little prospect. It would be a great challenge for the dynamic and modern theatre school to combine training of the competencies that are necessary for a contemporary theatre artist with the enthusiasm of a creative laboratory.