“斯坦尼斯拉夫斯基体系与当代”国际研讨会征稿通告

It has been more than 110 years since the Stanislavski System was formally introduced, which still profoundly influences the world's performing arts industry. Especially in China, his legacy has become a compulsory course in drama schools and a vital reference for the construction of the System of Chinese Dramatic Performance.

Over the past hundred years, Stanislavski's assistants and students have put forth different views on the System, which have revised, adapted and developed it to fit the contemporary. The main discussion of this symposium is to review the development of the 'System'. By investigating its historical path to being introduced, accepted, promoted, and researched, we can find out how the Stanislavski System be considered as a key reference in acting/directing course, academic research and theatrical practice in China today, hence reimagine the System's influence in the 21st century.

在“斯坦尼斯拉夫斯基体系与当代”总题目之下，具体议题在下列范围内展开：

1. 斯坦尼斯拉夫斯基体系的形成、传承及嬗变

2. 从斯坦尼斯拉夫斯基全集九卷本出版以来俄罗斯研究“体系”的新成果

3. 后苏联时代俄罗斯戏剧的发展状况

4. 斯坦尼斯拉夫斯基体系在内地（大陆）与港澳台地区的传播、研究与实践中的推行

5. 斯坦尼斯拉夫斯基体系在日本的传播、运用与研究

6. 中国演剧体系的建设与斯坦尼斯拉夫斯基体系研究

7. 欧阳予倩关于建立中国戏剧体系的论述在当代的意义与价值

8. 2024年中俄文化年与斯坦尼斯拉夫斯基体系研究

9. 斯坦尼斯拉夫斯基体系研究与中国高等戏剧与影视的教育教学

10. 与会议相关的其他议题

Topics for contributions include, but are not limited to:

1. Formation, inheritance and transmutation of the Stanislavski System;

2. The latest achievements of the Russian "System" Studies since the Stanislavski K.S. Collected Works in 9 Volumes were published;

3. Russian theatre industry‘s development in the post-Soviet era;

4. The Stanislavski System in propaganda, research and practice in Chinese mainland, Hong Kong, Macao and Taiwan;

5. The Stanislavski System in Japan;

6. the System of Chinese Dramatic Performance and The Stanislavski System;

7. The Contemporary Significance and Value of Ouyang Yuqian's Discourse on Establishing the System of Chinese Dramatic Performance;

8. Russian-Chinese Culture year 2024 and the Stanislavski System;

9. The Stanislavski System’s Influence on China’s Theatre, Film&Television Studies in Higher Education;

10. Other topics relevant to the subject.

二、会议征稿

Call for Paper

投稿论文应契合会议主题。投稿内容须为一份300字以内的中英文摘要或5000字以上的论文全文和200字以内的作者学术简历。投稿邮件请注明基本信息：姓名、单位、职称。请于3月15日前将稿件发至邮箱stanislavski@zhongxi.cn，文件名应为“姓名+文章标题”。会议欢迎艺术史学家、导表演教师、心理学家、哲学家、人类学家、历史学家、文学评论家、文化学家、东方学家、心理学家、独立研究人员参与此次论坛。亦可仅投发言纲要，敬盼高见。

收到来稿后，筹备组将组织专家筛选论文，并向作者发布参会通知。

Please note that the symposium will be held both online and in-person, the committee will contact the successful candidate individually to discuss the form of participation.

Proposals for acceptable submission should be a 300-word abstract( both in Chinese and English) or a finished paper( 5000 words minimum, no written language restriction) with no more than 200 words of academic biography.

If you would like to contribute, please send the required material to stanislavski@zhongxi.cn with the relevant stream title indicated by your name, title and institution, the attached file should be named after your preferred name and tile of submission. This symposium welcomes scholars, educators and practitioners from all fields to join.

After we receive submissions, the committee will run a fair evaluation procedure and then come back to all contributors with results.

中央戏剧学院戏剧艺术研究所“斯坦尼斯拉夫斯基体系与当代研讨会”筹备组

2024年1月15日

Preparatory Committee for The International Conference of ‘Stanislavski Our Contemporary’, Research Institute of Theatrical Arts, The Central Academy of Drama

January 15, 2024