Andrei Malaev-Babel holds an M.F.A. from the renowned Vakhtangov Theater Institute in Moscow, Russia. He trained and worked under Alexandra Remizova, co-founder of the Vakhtangov Theater, Stanislavsky’s student and Vakhtangov’s protégé. In 1985, he co-founded the Moscow Chamber Forms Theater, one of the first private professional theater companies in Russia. He headed the Chamber Forms Theater’s Laboratory where he led the first Russian workshops in Michael Chekhov theater technique since Chekhov’s exile from the Soviet Union in 1928.
Since 1997, Mr. Malaev-Babel has served as the Producing Artistic Director for the Stanislavsky Theater Studio (STS), an award-winning company and conservatory in Washington, DC. He has been nominated for a Helen Hayes Award as an Outstanding Director, and under his artistic direction, STS has received five Helen Hayes Award nominations and won two. Mr. Malaev-Babel is a recipient of the Washington theater Mary Goldwater Award and The World Bank Community Outreach Recognition Award. His work as producer, director and actor has been praised by national and international media, and he has presented work at The Kennedy Center; The National Theater; The Smithsonian Institution; The World Bank; The Keenan Institute for Advanced Russian Studies of the Woodrow Wilson International Center for Scholar; the Ministry of Culture of Russia; and the Russian Embassy in the US.
Mr. Malaev-Babel has served on the faculty of The Catholic University of America in Washington, DC, and he is a member of the international faculty and board of MICHA, the Michael Chekhov Association. He developed The Art of Acting, STS' extensive acting training program in residence at Montgomery College, and he is the author of the Guide to the Psychological Gesture Technique published in the 2003 Routledge edition of Michael Chekhov's seminal book, To the Actor. He currently serves on the faculty of the FSU/Asolo Conservatory in Sarasota, Florida. His two groundbreaking volumes on the Russian theatrical innovator Yevgeny Vakhtangov came out from Routledge in 2011 and 2012. He is a member of the Society of Stage Directors and Choreographers.
"Nikolai Demidov’s School of Acting – Theatre Pedagogy of the Future"
Monday, November 5 at 4:15pm | Pigott Hall, Room 252 (in the Main Quad, Bldg 260)
Free & Open to the Public
Nikolai Demidov’s School of Acting is Russian Theatre’s best-kept secret. Until the first decade of the 21st century, the name of Nikolai Demidov (1884-1953) was known only to a narrow circle of specialists. Several “high-ranking” Stanislavsky disciples prevented Demidov’s practices from surfacing for half a century following the master’s death. In the meantime, Demidov was one of the three original teachers of the Stanislavsky System, the first editor of An Actor Prepares and the founding director of the Moscow Art Theatre School. Demidov’s own School of Acting, contrary to Stanislavsky’s, defined an actor’s process as an indivisible flow of subconscious creativity. Moreover, Demidov’s School pioneered non-analytical techniques that enable actors to access and facilitate their intuitive process. The Demidov approach also allows actors to travel on high emotional altitudes, thus unveiling the secrets of the great tragedians, such as Duse, Salvini and Yermolova. One of Russia’s foremost teachers of acting, Professor Veniamin Filshtinsky of the St. Petersburg Theatre Academy, refers to Demidov’s methods as “pedagogy of the future”. Mr. Malaev-Babel’s lecture will concentrate on the history of Demidov’s methods, on his major disagreements with Stanislavsky, and on the contemporary experience of working with the Demidov technique, as practiced at one of the US’ top acting conservatories.
"Workshop in Michael Chekhov Technique – Psychological Gesture"
Tuesday, November 6 at 3:15-5:05pm | Pigott Theater Stage in Memorial Auditorium
Open to Stanford Students | RSVP Not Required
The Michael Chekhov Technique workshop stresses intuition and imagination as major sources of theatrical creativity. It offers actors a unique approach to the play and the character – an approach that allows a theater artist to involve their entire creative instrument (psychology, body and imagination) in the research and rehearsal process, from its very first steps. The concept of Psychological Gesture (PG) remains one of the most popular aspects of Michael Chekhov's creative heritage. Throughout the workshop, participants will explore practical ways of using the PG technique to approach the role as a whole, as well as character relationships and objectives. The workshop will explore such aspects of the PG technique as imaginary space and time, as introduced in Mr. Malaev-Babel’s Guide to Psychological Gesture Technique published in Michael Chekhov’s classic To The Actor, Routledge, 2002.