Editing Stanislavski's system (section)

===Opera Studio===
[[File:Chaliapin F. (Шаляпин Ф. И.) 1913.jpg|thumb|The Russian singer [[Feodor Chaliapin]], whose approach Stanislavski hoped to combine with his system, in order to prove its [[Universality (philosophy)|universality]] in the crucible of the artifice and conventionality of [[opera]].]]
Benedetti argues that a significant influence on the development of Stanislavski's system came from his experience teaching and directing at his Opera Studio.<ref>Benedetti (1999, 259). Gauss argues that "the students of the Opera Studio attended lessons in the "system" but did not contribute to its forulation" (1999, 4).</ref> He created it in 1918 under the auspices of the [[Bolshoi Theatre]], though it later severed its connection with the theatre.<ref name=opera>The studio underwent a series of name-changes as it developed into a full-scale company: in 1924 it was renamed the "Stanislavski Opera Studio"; in 1926 it became the "Stanislavski Opera [[Studio theatre|Studio-Theatre]]"; in 1928 it became the Stanislavski Opera Theatre; and in 1941 the theatre merged with Nemirovich's music studio to become the [[Stanislavski and Nemirovich-Danchenko Moscow Academic Music Theatre]]. Nemirovich had created the Moscow Art Theatre Music Studio in 1919, though Stanislavski had no connection to it; see Benedetti (1999, 211; 255), Leach (2004, 20), and Stanislavski and Rumyantsev (1975, x).</ref> Stanislavski worked with his Opera Studio in the two rehearsal rooms of his house on Carriage Row (prior to his eviction in March 1921).<ref>Benedetti (1999, 255).</ref> His brother and sister, Vladimir and Zinaïda, ran the studio and also taught there.<ref name=b256>Benedetti (1999, 256).</ref> It accepted young members of the Bolshoi and students from the [[Moscow Conservatory]].<ref name=b256/> Stanislavski also invited [[Serge Wolkonsky]] to teach [[diction]] and Lev Pospekhin (from the Bolshoi Ballet) to teach expressive movement and [[dance]].<ref name=b256/>

By means of his system, Stanislavski aimed to unite the work of [[Mikhail Shchepkin]] and [[Feodor Chaliapin]].<ref name=b256/> He hoped that the successful application of his system to [[opera]], with its inescapable conventionality, would demonstrate the universality of his methodology.<ref name=b256/> From his experience at the Opera Studio he developed his notion of "tempo-rhythm", which he was to develop most substantially in part two of ''An Actor's Work'' (1938).<ref name=b259>Benedetti (1999, 259).</ref>

A series of thirty-two lectures that he delivered to this studio between 1919 and 1922 were recorded by [[Konkordia Antarova]] and published in 1939; they have been translated into English as ''On the Art of the Stage'' (1950).<ref>Leach (2004, 51–52) and Benedetti (1999, 256, 259); see Stanislavski (1950). Konkordia Antarova made the notes on Stanislavski's teaching, which his sister Zinaïda located in 1938. [[Liubov Gurevich]] edited them and they were published in 1939.</ref> Pavel Rumiantsev—who joined the studio in 1920 from the Conservatory and sang the title role in its production of ''[[Eugene Onegin (opera)|Eugene Onegin]]'' in 1922—documented its activities until 1932; his notes were published in 1969 and appear in English under the title ''Stanislavski on Opera'' (1975).<ref name=b259/>