Konstantin Sergeevich Stanislavskiy

A Russian and Soviet actor, director, and theater theorist. His real name was Alekseev. Born into a theater-loving Moscow factory owner, he was already performing in family plays at the age of three, and from an early age he grew up with an interest in art, especially theater. In 1877 he formed an amateur family theater company, mainly consisting of his brothers and sisters, and performed on stage while also experimenting as a director. During this period, he invited a group of Japanese acrobats to his home to direct and perform in the operetta "The Mikado," and while living with them he closely observed their daily lives, and here we can see the beginnings of a method of creating realist theater. He founded the Society of Arts and Letters (1888-98) in Moscow, and was recognized as a director for the premiere of Tolstoy's "Fruits of Civilization" and his adaptation of Dostoevsky's novella "The Village of Stepanchikovo and Its Inhabitants." In opposition to the stereotypical plays that were popular at the time, and in order to create truly innovative folk theater, he founded the Moscow Art Theatre in 1898 together with playwright and director Nemirovich-Danchenko, and premiered a series of Chekhov's works, including The Seagull (1898), as well as Gorky's Petty Bourgeoisie (1901) and The Lower Depths (1902), with brilliant success. He established his own directing style, which elevated the stage to a poetic symbolism through realistic techniques, and also introduced social themes. His interests were extremely varied, and at one time he resonated with symbolism and at another he was devoted to Craig. Immediately after the Russian Revolution (1917), his style was criticized as old-fashioned bourgeois theater, but in the 1930s it was reevaluated as socialist realism. He trained many outstanding young actors, was interested in opera, and maintained an attitude of pursuing innovation until his death. The Stanislavski system that he established has had a decisive influence on theater around the world, especially on actor education. His major works include The Actor's Work (3 volumes, 1938-48) and his autobiography My Life in Art (1926).

[Nobuyuki Nakamoto]

"My Life in Art" translated by Kurahara Tadahito and Egawa Taku, 2 volumes (1983, Iwanami Shoten) " ▽ "Stanislavski" by Yamada Hajime (1951, Kobundo)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

ロシア・ソ連の俳優、演出家、演劇理論家。本名はアレクセーエフАлексеев／Alekseev。芝居好きなモスクワの工場主の家に生まれ、3歳ですでに家庭芝居に出演、幼時から芸術、とくに演劇に関心を抱きながら育った。1877年に兄弟姉妹を中心にアマチュア家庭劇団を結成し、その舞台に立つとともに、演出家として実験を重ねた。この時期にオペレッタ『ミカド』の演出・出演のため、日本人軽業(かるわざ)師一行を家庭に招き、起居をともにしながら彼らの日常生活を細かく観察したが、ここにはリアリズム演劇の創造方法の萌芽(ほうが)がみられる。モスクワに芸術文学協会（1888～98）を設立、トルストイの『文明の果実』の初演や、ドストエフスキーの中編『スチェパンチコボ村とその住人』の脚色上演で演出家として認められた。当時流行していた紋切り型の芝居に反対して、真に革新的な民衆演劇を生み出すため、98年に劇作家で演出家のネミロビチ・ダンチェンコと共同でモスクワ芸術座を創立し、『かもめ』（1898）をはじめとする一連のチェーホフの作品や、ゴーリキーの『小市民』（1901）、『どん底』（1902）などを初演して輝かしい成功を収め、リアリスティックな手法で舞台を詩的象徴にまで高める独自の演出スタイルを確立し、社会的テーマも打ち出した。関心の振幅はきわめて大きく、一時、象徴主義に共鳴したり、クレイグに傾倒したりした。ロシア革命（1917）の直後には古臭いブルジョア演劇と非難されたが、1930年代に社会主義リアリズムとして再評価された。多数の優れた後進を育て、オペラにも関心を示し、死ぬまで革新的なものを追求する姿勢を保ち続けた。彼が樹立したスタニスラフスキー・システムは、世界の演劇に、とりわけ俳優教育に決定的な影響を与えている。主著に『俳優の仕事』全3巻（1938～48）、自伝『芸術におけるわが生涯』（1926）がある。

［中本信幸］

『蔵原惟人・江川卓訳『芸術におけるわが生涯』全2冊（1983・岩波書店）』▽『山田肇著『スタニスラフスキー』（1951・弘文堂）』

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