Achieving praxis between stage and pit: Boleslavsky’s Six Lessons for musicians

This paper investigates how the theories and ideals of Konstantin Stanislavski can be applied by musicians in musical theatre performance and uses the mode of interdisciplinary study to cultivate a practical method for musical performance, offering a means of developing aesthetic language for musicians with the goal of enabling greater connection between musicians in the orchestra pit and actors on the stage.

After a survey of Stanislavski's practical methods and theories, and how they interact within modern musical theatre performance, a model for the practical development of an aesthetic language for theatre musicians will be defined using Boleslavsky's 'Acting: the first six lessons' as a catalyst. Boleslavsky was the first exponent of Stanislavski's system in the United States, and his teachings in in New York during the mid- to late-1920s had "…a profound influence on those who would become leading figures of the theatre over the next decade…"i – precisely the period in which the form of the musical was evolving on Broadway. Boleslavsky's text, 'Acting: the first six lessons', provides a clearly defined step-by-step approach to teaching the Stanislavski system and one that translates well for the musician. By taking Boleslavsky's text and, through the lens of Stanislavski, translating the teachings for use by musicians this essay will demonstrate how the techniques of one practice can be applied within another to better integrate complimentary disciplines within in an interdisciplinary medium. This opens up new areas of exploration for directors, writers, and other creatives within the theatre and provides a pedagogical framework for musicians. While the focus of the lecture is on developing skills and techniques for performances within a musical theatre context, the methods described are applicable to all genres of music and can be applied to all modes of performance.