By means of études: Boris Kulnev in an advanced actor training class in Beijing, 1955-1956

Bibliography

• Anonymous. Xiju yishujia de yaolan: Zhongyang xiju xueyuan. [The Cradle of Theatre Artists: The Central Academy of Drama]. Beijing: Wenhua yishu chubanshe, 2012.
   Google Scholar
• Anonymous. “Boris Korolyov.” Accessed September 17, 2019. http://www.vakhtangov.ru/en/persones/korolevboris.html
   Google Scholar
• Bao, W. “Hong Shen, Behavioral Psychology, and the Technics of Social Effects.” Modern Chinese Literature and Culture 27, no. 2 (2015): 249–297.
   Web of Science ®Google Scholar
• Benedetti, J. Stanislavski and the Actor. London: Methuen, 1998.
   Google Scholar
• Carnicke, S. M. Stanislavsky in Focus: An Acting Master for the Twenty-first Century. 2nd ed. London: Routledge, 2009.
   Google Scholar
• Carnicke, S. M. “Stanislavsky’s System: Pathways for the Actor.” In Actor Training, edited by A. Hodge, 1–25. 2nd ed. London: Routledge, 2010.
   Google Scholar
• Chou, L.-P. The Hurricane. Translated By Hsu Meng-hsiung. Peking: Foreign Languages Press, 1955.
   Google Scholar
• Du, W. “Xiaopin: Chinese Theatrical Skits as Both Creatures and Critics of Commercialism.” The China Quarterly 154 (1998): 382–399. doi:10.1017/S0305741000002071.
   Google Scholar
• Farber, V. Stanislavsky in Practice: Actor Training in Post-Soviet Russia. New York: Peter Lang Publishing, 2008.
   Google Scholar
• Fei, F. C. “Huang Zuolin: Michael Chekhov’s Link to Chinese Modern Theatre.” New Theatre Quarterly 22, no. 3 (2006): 235–248. doi:10.1017/S0266464X06000443.
   Google Scholar
• Filshtinsky, V. “Zhuanye shuyu beihou yincang zhe shenme—‘xiaopin fangfa’ de qiyuan.” [What Lies Behind the Jargons—The Origin of the Method of Étude]. Translated by Fu Weifeng. Xiju (Zhongyang xiju xueyuan xuebao). [Drama (The Journal of the Central Academy of Drama)], no. 1 (2011): 20–31. doi:10.13917/j.cnki.drama.2011.01.006.
   Google Scholar
• Filshtinsky, V. “Education through Etudes.” Stanislavski Studies: Practice, Legacy, and Contemporary Theater 1, no. 2 (2013): 116–149. doi:10.1080/20567790.2013.11428588.
   Google Scholar
• Gao, Y. Wutai shang de xin Zhongguo: Zhongguo dangdai juchang yanjiu. [New China Onstage: A Study of Contemporary Chinese Theatre]. Beijing: Zhongguo xiju chubanshe, 2013.
   Google Scholar
• Glaviskusstvo. “Biaoyan ke’ jiaoxue dagang.” [The Curriculum for the “Acting Class”]. Translated by Wang Aimin and Zhang Shoushen. Xiju Bao [Theatre Gazette], no. 3 (1955): 44–50.
   Google Scholar
• Gordon, M. The Stanislavsky Technique: Russia: A Workbook for Actors. New York: Applause Theatre Book Publishers, 1998.
   Google Scholar
• Gu, Z. Lingshuang aoxue weiran li: Shanghai xiju xueyuan minguo xiaoshi kaolue. [Surviving Through Thick and Thin: A Brief Examination of the School History of the Shanghai Theatre Academy in the Republican Era]. Shanghai: Shanghai jiaotong daxue chubanshe, 2015.
   Google Scholar
• Huang, P. C. C. “Rural Class Struggle in the Chinese Revolution: Representational and Objective Realities from the Land Reform to the Cultural Revolution.” Modern China 21, no. 1 (1995): 105–143. doi:10.1177/009770049502100105.
   Web of Science ®Google Scholar
• Kulnev, B. G. Bao·Ge·Kuliniefu zai Biaoyan ganbu xunlian ban jiangke jilu (1–20). [Transcript of the Advanced Actor Training Class Taught by B.G. Kulnev, (1–20)]. Translated by Lin Min, Sha Jin, and Jiang Li. Beijing: Zhongyang xiju xueyuan, 1955.
   Google Scholar
• Kulnev, B. G. Bao·Ge·Kuliniefu zai Biaoyan ganbu xunlian ban jiangke jilu (21–50). [Transcript of the Advanced Actor Training Class Taught by B.G. Kulnev, (21–50)]. Translated by Lin Min, Sha Jin, and Jiang Li. Beijing: Zhongyang xiju xueyuan, 1956.
   Google Scholar
• Kulnev, B. G. Bao·Ge·Kuliniefu zai Biaoyan ganbu xunlian ban jiangke jilu (51–83). [Transcript of the Advanced Actor Training Class Taught by B.G. Kulnev, (51–83)]. Translated by Lin Min, Sha Jin, and Jiang Li. Beijing: Zhongyang xiju xueyuan, 1956.
   Google Scholar
• Kulnev, B. G. “Kuliniefu tongzhi zai woyuan qingzhu Shichujin xiju xuexiao jianxiao sishi zhounian jinianhui shang de jianghua.” [Comrade Kulnev’s Speech Commemorating the 40th Anniversary of the Foundation of the Shchukin Drama School at the Shanghai Theatre Academy]. Yuanbao [Academy’s Bulletin], no. 24 (1957): 15–18.
   Google Scholar
• Kulnev, B. G. “Sulian zhuanjia Bao·Ge·Kuliniefu dui woyuan jiaoyuan shifan jiaoxue de ketang jilu (13–16).” [Transcript of the Soviet Expert B.G. Kulnev’s Exemplary Teachings for the Mentors of the Shanghai Theatre Academy (13–16)]. Translated by Guo Shengnan, Li Siyuan and Wang Huimin. Xiju Jiaoxue [Theatre Pedagogy], no. 1 (1958): 61–91.
   Google Scholar
• Lan, T., and L. Qi. Yanyu pingsheng Lan Tianye. [The Mist and Rain of A Lifetime: Lan Tianye]. Beijing: Shenghuo·dushu·xinzhi sanlian shudian, 2014.
   Google Scholar
• Link, P. An Anatomy of Chinese: Rhythm, Metaphor, Politics. Cambridge, Mass: Harvard University Press, 2013.
   Google Scholar
• Liu, S. “‘Spoken Drama (Huaju) with a Strong Chinese Flavour’: The Resurrection and Demise of Popular Spoken Drama (Tongsu Huaju) in Shanghai in the 1950s and Early 1960s.” Theatre Research International 42, no. 3 (2017): 265–285. doi:10.1017/S030788331700058X.
   Web of Science ®Google Scholar
• Ma, Y. “Zhongguo ertong xiju chuchuangqi de wailai yingxiang yu minzu chuangxin—yi Malan hua yu Kuliniefu wei li.” [Foreign Influence and Indigenous Innovation at the Early Stage of Chinese Theatre for Youth—An Example from Magic Flower and Kulnev]. Xiju (Zhongyang xiju xueyuan xuebao) no. 5 (2018): 133–142. doi:10.13917/j.cnki.drama.2018.05.012.
   Google Scholar
• Malaev-Babel, A., ed. The Vakhtangov Sourcebook. London: Routledge, 2011.
   Google Scholar
• Malaev-Babel, A. Yevgeny Vakhtangov: A Critical Portrait. London: Routledge, 2012.
   Google Scholar
• Mei, Q. “Ji Kuliniefu.” [On Kulnev]. In Mei Qian, edited by K. Wenhui, 70–74. Beijing: Shiyue wenyi chubanshe, 1995.
   Google Scholar
• Merlin, B. Konstantin Stanislavsky. London: Routledge, 2003.
   Google Scholar
• Pitches, J., and L. Ruru. “Stanislavsky with Chinese Characteristics: How the System Was Introduced to China.” In Stanislavsky in the World: The System and Its Transformations across Continents, edited by J. Pitches and S. Aquilina, 166–195. London: Bloomsbury Methuen Drama, 2017.
   Google Scholar
• Rebull, A. “Locating Theatricality on Stage and Screen: Rescuing Performance Practice and the Phenomenon of Fifteen Strings of Cash (Shiwu Guan; 1956).” CHINOPERL: Journal of Chinese Oral and Performing Literature 36, no. 1 (2017): 46–71. doi:10.1080/01937774.2017.1337691.
   Google Scholar
• Roach, J. Cities of the Dead: Circum-Atlantic Performance. New York: Columbia University Press, 1996.
   Google Scholar
• Shevtsova, M. Rediscovering Stanislavsky. Cambridge: Cambridge University Press, 2019.
   Google Scholar
• Song, T. “Sulian xiju jia zai Zhongguo.” [Soviet Theatre Experts in China]. Hengbang qiao [Hengbang Bridge], no. 64 (2004): 8–10.
   Google Scholar
• Stanislavski, K. An Actor’s Work: A Student’s Diary. Translated by Jean Benedetti. London: Routledge, 2008.
   Google Scholar
• Swatek, C. C. Peony Pavilion Onstage: Four Centuries in the Career of a Chinese Drama. Ann Arbor: Center for Chinese Studies, The University of Michigan, 2002.
   Google Scholar
• Syssoyeva, K. M. “Revolution in the Theatre I: Meyerhold, Stanislavsky, and Collective Creation, Russia, 1905.” In A History of Collective Creation, edited by K. M. Syssoyeva and S. Proudfit, 37–57. Basingstoke: Palgrave Macmillan, 2013.
   Google Scholar
• Tai, Y.-J. “Stanislavsky and Chinese Theatre.” Journal of Oriental Studies 16, no. 1–2 (1978): 49–62.
   Google Scholar
• Taylor, D. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press, 2008.
   Google Scholar
• Tian, H. “Zhongxi ‘biaoxun Ban.” [“The Advanced Actor Training Class” at the Central Academy of Drama]. In Xiju diantang [The Paradise of Theatre], edited by C. Ying, 12–20. Beijing: Wenhua yishu chubanshe, 2007.
   Google Scholar
• Tian, J. “Youguan biaoyan ke jiaoxue dagang ji jiaoxue fa de jidian yijian.” [Several Suggestions on the Curriculum for the Acting Class and the Pedagogical Methods]. Yuanbao no. 21 (1957): 2–7.
   Google Scholar
• Tian, M. The Poetics of Difference and Displacement: Twentieth-Century Chinese-Western Intercultural Theatre. Hong Kong: Hong Kong University Press, 2008.
   Google Scholar
• Tsai, C. Daughter of Shanghai. London: Chatto & Windus, 1988.
   Google Scholar
• Volland, N. Socialist Cosmopolitanism: The Chinese Literature Universe, 1945–1965. New York: Columbia University Press, 2017.
   Google Scholar
• Whyman, R. The Stanislavsky’s System of Acting: Legacy and Influence in Modern Performance. Cambridge: Cambridge University Press, 2008.
   Google Scholar
• Wilcox, E. Revolutionary Bodies: Chinese Dance and Socialist Legacy. Oakland: University of California Press, 2018.
   Google Scholar
• Xue, M. “Xuexi Sulian biaoyan jiaoxue dagang zhong de jige yiti.” [Several Qualms about Learning the Soviet Acting Curriculum]. Yuanbao 18 (1957): 19–20.
   Google Scholar
• Yao, X. “Cong shenghuo dao juese.” [From Life to Role]. Xiju bao 3 (1957): 10–11.
   Google Scholar
• Yao, X. “Dakai jiyi de cangku.” [Opening the Storehouse of Memory]. Xiju yishu [Theatre Arts], no. 4 (1978): 39–42.
   Google Scholar
• Zarrilli, P. B., ed. Acting (Re)considered: A Theoretical and Practical Guide. 2nd ed. London: Routledge, 2002.
   Google Scholar
• Zhang, Z. “Dui zhiding biaoyan jiaoxue dagang de jidian yijian.” [Several Suggestions on Making the Acting Curriculum]. Yuanbao no. 19 (1957): 23–24.
   Google Scholar
• Zhu, K. “Zhu Xiangcheng: Xiaoshi zai Xiboliya de Zhongguo ren.” [Zhu Xiangcheng: A Chinese Man who Vanished in Siberia]. Yanhuang Chunqiu [China Through the Ages], no. 5 (2015): 77–79.
   Google Scholar