The tadashi suzuki method in russian theater education: translation difficulties

The article examines the problem of studying acting techniques and methods other than the Stanislavsky system, which were formed in line with the demands and requirements for modern theater in the second half of the 20th century in the Russian theater space. One of these methods is the method of Japanese director Tadashi Suzuki («Suzuki method»), which is generally recognized in the world theater community, and which has become an important part of theater education and practice not only in Japan but also abroad. Its emphasis on bodily expressiveness, rhythm and physical interaction of actors allows for the creation of new dynamics in performance, which has greatly in uenced Western theater traditions. In Russia, the method has also found its adherents, despite the di culties of integration and perception of new approaches in traditional theater. In the course of the analysis, the author of the article comes to the conclusion that in Russian theater education and the theater community, the «Suzuki method» remains detached. This is due to the di culty of mastering the theoretical foundations of the method, its form and style, philosophy of movement, with the problem of translating and adapting speci c techniques for the Russian cultural environment, as well as the need for constant practice to achieve high results, compliance with the established system of requirements, without which a comprehensive and deep understanding of the training, its philosophical aspects, nurtured in theatrical traditions di erent from Western and Russian culture, is impossible.