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1
Jansen, Karin. "Stanislawski-Theaterarbeit nach System : kritische Studien zu einer Legende /." Frankfurt am Main ; Berlin ; Paris [etc.] : P. Lang, 1995. http://catalogue.bnf.fr/ark:/12148/cb370343195.
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Lindholm, Cizzi. "Stanislavskij & Brecht - en teaterteoretisk jämförelse ur ett idéhistoriskt perspektiv." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-17653.
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Det finns både skillnader och likheter mellan Stanislavskij och Brecht. En av de tydligaste är att de har olika ismer i grunden, Stanislavskij är naturalist och Brecht är realist. Dessa ismer gränsar till varandra i det att de båda vill ge en så realistisk bild av verkligheten som möjligt, men tar olika vägar i synen på verkligheten och hur denna ska avbildas på bästa sätt. Där Stanislavskij vill ha total inlevelse vill Brecht fjärma och hålla distans. Där Brecht bara låter skådespelaren ge utlopp för sina känslor i det inledande repetitionsarbetet låter Stanislavskij känslan vara med som en röd tråd genom hela processen från rollskapande till färdig föreställning. Jag har även kommit fram till att politiken, i synnerhet kommunismen och den socialistiska realismen, tilläts större utrymme hos Brecht än hos Stanislavskij. Vidare ansåg både Stanislavskij och Brecht att publiken hade en jämförelsevis stor roll i teaterns varande. Brecht menade att publikens möjlighet till kritisk eftertanke var det viktigaste för teatern i det stora hela, detta samtidigt som underhållningsfaktorn vägde tungt. Stanislavskij å sin sida strävade istället efter publikens beständiga upplevelse av den verklighet som skådespelarna åskådliggjorde på scenen, för honom var det viktigare att publiken trodde på vad de såg än att de blev roade.
3
Levanen, Leo. "Realismi ja eläytyminen : Mihail Štšepkin, Konstantin Stanislavski ja Sergei Obraztsov teatteriperinteensä luojina ja kehittäjinä /." Oulu : Oulun yliopisto, 1995. http://catalogue.bnf.fr/ark:/12148/cb414905178.
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Gurejeva, Viktorija. "Konstantino Stanislavskio sistemos elementų taikymas atlikėjų rengime." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140603_115526-32153.
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Konstantino Stanislavskio sistema remiasi daugelis režisierių, pedagogų, aktorių,
dainininkų. Ši sistema labai stipriai paveikė teatro ir pedagogikos vystymąsi. Sistema sudaryta
iš dviejų dalių: „Aktoriaus darbu su savimi“ ir „Aktoriaus darbu su vaidmeniu“. Įvaldžius abi
sistemos dalis organiškai susijungia atlikėjas su vaidmeniu. Sistema apima didelį skaičių
elementų, kurie nagrinėjami mokslo darbe.
Stanislavskio sistemos elementai - dainininko - aktoriaus darbo įrankiai. Darbe siekta
išskirti pagrindinius Stanislavskio sistemos elementus, atskleisti šių elementų taikymo
galimybes atlikime ir atlikėjų rengime.
Tyrimo objektas: Konstantino Stanislavskio sistemos elementų taikymas atlikėjų
rengime.
Tyrimo tikslas: atskleisti Konstantino Stanislavskio sistemos elementus, jų taikymą ir
šiuolaikinį aktualumą.
Tyrimo tikslui pasiekti, iškelti šie uždaviniai:
• Pristatyti Konstantino Stanislavskio aktorių rengimo sistemą ir jos elementus;
• Atskleisti Konstantino Stanislavskio sistemos elementų taikymo galimybes atlikėjų
rengime.
Tyrimo metodai:
• Mokslinės literatūros analizė;
• Interviu.
Dainininko - aktoriaus kūrybiškumo elementai - jo vidiniai (psichiniai) ir išoriniai
(fiziniai) duomenys. Valdant visus psichofizinių duomenų elementus įmanomas profesionalus
sceninis veiksmas. Pagrindinis Stanislavsio sistemos principas - gyvenimiška tiesa. Visi
Stanislavskio sistemos elementai, yra sceninio veiksmo sudėtines dalys. Kiekviena iš
elementų reikia vystyti, tik tai padeda... [toliau žr. visą tekstą]Many of produsers, pedagogues, actors and performers bases on Stanislavski's system. The development of theater and pedagogy was strongly affected by the system. It is grounded on two parts: „Actors work with himself“ and „Actors work with role“. After getting mastered in this parts, the actor is joined with role in natural way. The system includes a big amount of elements which are investigated in this study. The elements of Stanislavski's system are the tools for actors and performers. The goal of the study is to discover the main elements of Stanislavski's system and to reveal the usibilty of this elements in action and in preparation of the performers. Study object: application of Konstantin Stanislavski's system elements in preparation of performers. Study goal: to discover the main elements of Stanislavski's system, it's usibility and modern actuality. Study objectives: • Introduce the Konstantin Stanislavski's actor preparation system and elements; • To reveal the usibilty of the elements in action and in preparation of the performers. Study methods: • Analisis of a sience literature; • Interview. Study object: application of Konstantin Stanislavski's system elements in preparation of performers. Performer - actor elements of creativity - his internal psychical and external physical qualities. In management of psychophysical qualities. The professional scene action may be achieved by managing the elements of psychophysical qualities. The main principle of... [to full text]
5
Poliakov, Stéphane Hamon-Siréjols Christine. "Interactions esthétiques les fondements figuratifs du système de Stanislavski /." Lyon : Université Lumière Lyon 2, 2006. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2006/poliakov_s.
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Takeda, Cristiane Layher. "Minha vida na arte de Konstantin Stanislavski: os caminhos de uma poética teatral." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-30042009-095757/.
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Konstantin Stanislavski é considerado um dos pilares do teatro moderno. Ator, encenador, pedagogo, pesquisador e teórico teatral, ele transformou o teatro de sua época e sua obra lançou as bases para o treinamento e formação de atores, a primeira sistematização da arte do ator no ocidente, que ficou conhecida como o sistema Stanislavski. Minha vida na arte de Konstantin Stanislavski: os caminhos de uma poética teatral propõe investigar a autobiografia de Stanislavski, publicada na Rússia em 1926. Além do percurso de uma experiência artística incomum, esse primeiro livro stanislavskiano apresenta as etapas de formação e os elementos que articulam seu pensamento artístico. Apesar da riqueza das informações que o relato apresenta, Minha vida na arte é um texto pouco analisado, visto que a esmagadora maioria dos estudos teatrais dedica-se à exegese do sistema Stanislavski. A presente pesquisa retoma a autobiografia e cria um espaço de observação e análise, colocando-a no centro da reflexão e considerando-a como um texto fundamental que guarda em si uma chave de acesso para a compreensão do projeto artístico-pedagógico de Konstantin Stanislavski, bem como de sua teoria teatral exposta em livros posteriores. O trabalho discute, em um primeiro momento, a trajetória dos escritos stanislavskianos, em seguida apresenta as circunstâncias que envolveram a gênese, a publicação e a transmissão da autobiografia e, finalmente, propõe o exame do texto de Minha vida na arte. A pesquisa está inserida no campo dos estudos stanislavskianos que se dedicam à releitura da obra e do legado do mestre russo.Konstantin Stanislavskis work is considered a fundamental reference of the modern theatre. He was an actor, metteur en scène, pedagogue and theatre theoretician whose works launched the basis of a training program for actors called all over the world as the Stanislavski system. The research Konstantin Stanislavskis My life in art: the paths of a theatre poetics proposes an analysis of Stanislavskis autobiography published in Russia in 1926. Besides an uncommon artistic experience, his first book presents the principles of his work and creative thinking. A better comprehension of Stanislavskis artistic project will allow a different reading of his later books and legacy.
7
Lee, Edward D. (Edward Dale). "Using the Stanislavski System to Teach Non-Realistic Acting." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278896/.
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This study examined Stanislavski's system as it was explained in his three books, An Actor Prepares, Building A Character, and Creating A Character. The study then examined the applicability of the Stanislavski System to the theaters of Bertolt Brecht and Absurdist theatre as represented by Harold Pinter and Samuel Beckett.
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Rupsch, Stephen Joseph. "Sublime union : the pedagogy of ecstasy, an examination of the superconscious state in acting training /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190504.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 198-203). Also available for download via the World Wide Web; free to University of Oregon users.
9
Gaviria, Cabrera Mario Alonso. "Los complementos en la formación del actor: el caso de los primeros dos años de la Facultad de Artes Escénicas de la PUCP." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2018. http://tesis.pucp.edu.pe/repositorio/handle/123456789/12473.
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Junto con la primera Facultad de Artes Escénicas (FARES) del Perú, situada en la
Pontificia Universidad Católica del Perú (PUCP), se avista una primera propuesta de
carácter universitario sobre cómo debería formarse a un actor o actriz. La base de
esta propuesta es el Sistema Stanislavsky de actuación junto con otros cursos
prácticos complementarios. Sin embargo, con la primera promoción de alumnos a
puertas de su graduación, a través de observación sobre cómo se vienen
concatenando las materias y propuestas curriculares en la práctica: se puede
visibilizar algunos de los principales problemas en su planteamiento actual. Se
centran, en cómo es que los cursos complementarios (música, entrenamiento
corporal, entrenamiento vocal, etc.) están siendo comprendidos, aprendidos y
aprehendidos por los alumnos. Frente a esta cuestión se formulará un diagnóstico
sobre la actual propuesta y se propondrá una posible solución: un espacio de
integración de dichos contenidos para los alumnos. Debido a que la facultad propone
que durante los primeros dos años se enseña la base de su formación actoral, y con
miras hacia una investigación concisa y puntual, esta se centrará en esos primeros
dos años.Tesis
10
Arriola, Sylvio. "L'action créatrice de l'acteur dans la pièce C.H.S. : étude sur l'effet de présence actoral dans un dispositif intermédial." Master's thesis, Université Laval, 2011. http://hdl.handle.net/20.500.11794/22765.
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Tableau d'honneur de la Faculté des études supérieures et postdoctorales, 2011-2012L'ACTION CRÉATRICE DE L'ACTEUR DANS LA PIÈCE C.H.S.¹ Étude sur l'effet de présence actoral dans un dispositif intermedial Par un aller et retour entre la théorie et la pratique, l'objectif de notre recherche-création est d'expliciter le répertoire de techniques qui a permis de varier les registres de présence de l'acteur dans le dispositif intermedial² de C.H.S. Dans un premier temps, nous nous sommes demandé si les recherches en biomécanique de Meyerhold, consistant en des variations des mises en rapport de l'acteur, pouvaient s'avérer adéquates pour construire une présence actorale dans l'immobilité. Ensuite, nous avons enrichi notre répertoire de placements scéniques, avec les travaux de Stanislavski et Grotowski. Afin d'étudier les qualités relationnelles de l'acteur, nous avons abordé une définition de la présence à soi, proposée par la Psychologie Corporelle Intégrée et le modèle constructiviste de Masciotra (2004). Puis, des réflexions sur les pratiques théâtrales actuelles nous ont permis de mettre de l'avant la notion « d'être-entre ». Par le biais de laboratoires artistiques, nous avons réfléchi et mis en pratique ces fondements théoriques pour préciser les procédures techniques permettant de varier la présence de l'acteur qui interprète le scientifique³. Le but de notre réflexion a été de rendre compte des diverses mises en relation qui permettent à l'acteur de C.H.S. de moduler adéquatement ses degrés de présence entre performativité et théâtralité. 1 Voir Annexe A 2 Voir Annexe B 3 À partir de maintenant, chaque fois que nous ferons mention du scientifique, il s'agira du personnage que nous avons interprété dans la pièce C.H.S. Ce travail actoral sert d'étude de cas, tout au long de cette réflexion théorique.
11
Souza, e. Silva Silveiro Neto Marta Isaacsson de. "Le Processus créateur de l'acteur : Stanislavski et Grotowski, étude d'une filiation." Paris 3, 1991. http://www.theses.fr/1991PA030075.
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Poliakov, Stéphane. "Interactions esthétiques : les fondements figuratifs du système de Stanislavski." Lyon 2, 2006. http://theses.univ-lyon2.fr/documents/lyon2/2006/poliakov_s.
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L'esthétique théâtrale russe est fondée sur l'acteur comme modèle de la création artistique. Les metteurs en scène russes ont élaboré au XXe siècle une réflexion systématique sur la poétique de l'acteur, une terminologie, des pratiques pédagogiques. Les écrits de Stanislavski permettent d'en articuler les axes principaux : processus et résultat, art de la représentation et art de la vie éprouvée (pereživanie), finalisme du surobjectif, refus de la convention et des clichés, vitalisme des impulsions, continuité de l'action. Il est possible de ressaisir cette tradition à partir des catégories figuratives qui la parcourent : image, cliché, dessin, couleur, pellicule cinématographique du rôle, ligne de l'action transversale, point et cercle de l'attention. Ces métaphores rendent compte d'une histoire de la mise en scène dans ses impulsions figuratives. La pédagogie de la mise en scène pose le problème du rapport entre l'image et l'action. Son origine peut être recherchée dans les relations qui se nouent entre théâtre et peinture, à la fin du XIXe siècle en Russie, dans le contexte de l'émergence de l'Art nouveau. La culture figurative de Stanislavski, entre réalisme et vacillement symboliste de la figure, témoigne d'une intériorisation de pratiques figuratives, comme le dessin des cahiers de mise en scène, dans une théorie de l'acteur. L'image, le dessin, la composition, la ligne et la perspective deviennent des instruments opératoires pour la création de l'acteur et du metteur en scène. C'est le jeu de l'acteur que la théorie de Stanislavski permet de figurer et le système même qui devient figuratif pour spatialiser le processus artistique et ses impulsions psychologiquesThe aesthetics of the Russian theatre is based on acting as a pattern for artistic creation. Russian directors established in the XXth century a system on the poetics of acting which is characterized by a terminology, a pedagogical practice. Stanislavski's writings and own evolution in the Moscow Art Theater draw the fundamentals: process and result, art of representation vs. Art of empathy (pereživanie), finality of the super-objective, refusal of convention and clichés, vitalism of impulses, continuity of action. It is possible to rethink this tradition on the basis of figurative categories such as image, design, colour, motion picture film of the role, through-line of action, point and circle of attention. Metaphors of this kind account for figurative impulses in stage directing. The thesis starts with the different meanings of the word "art" within the Russian tradition so as to describe the figurative practices and exercises in the pedagogy of directing. We then explore the relation between theater and painting at the end of the XIXth century in Russia with the birth of Modern style to aim at the figurative culture of Stanislavski himself between realism and vanishing of the human figure though symbolism. Stanislavski's evolution reveals an internalization of figurative categories and practices (such as the drawings in his director's notebooks) in a theory of acting. Thus, image drawing, composition, line, perspective are tools referring to the actor's and director's creativity. Stanislavski's theory allows to figurate the acting. The system itself becomes figurative and spatializes the artistic process and its psychological impulses
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Brooks, Cassandra M. "Cultural Exchange: the Role of Stanislavsky and the Moscow Art Theatre’s 1923 and 1924 American Tours." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699929/.
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The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States in 1923 and 1924, and the developments and changes that occurred in Russian and American theatre cultures as a result of those visits. Konstantin Stanislavsky, the MAT’s co-founder and director, developed the System as a new tool used to help train actors—it provided techniques employed to develop their craft and get into character. This would drastically change modern acting in Russia, the United States and throughout the world. The MAT’s first (January 2, 1923 – June 7, 1923) and second (November 23, 1923 – May 24, 1924) tours provided a vehicle for the transmission of the System. In addition, the tour itself impacted the culture of the countries involved. Thus far, the implications of the 1923 and 1924 tours have been ignored by the historians, and have mostly been briefly discussed by the theatre professionals. This thesis fills the gap in historical knowledge.
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Merino, Daniela Simone Terehoff. "Mestre de teatro, mestre da vida: Leopold Sulerjítski e sua busca artística e pedagógica." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-09032017-091918/.
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O presente trabalho aborda a herança artística, literária e pedagógica e a tradução diretamente do russo de cartas, trechos de diários e ensaios de Leopold Antônovich Sulerjítski (1872-1916), um dos maiores mestres teatrais e pedagógicos do início do século XX. Artista, pedagogo, literato e diretor de cena profundamente ligado à vida artística e cultural de sua época, Leopold Sulerjítski participou intensamente das atividades do Primeiro Estúdio do Teatro de Arte de Moscou, tornando-se o responsável pela propagação de elementos de tendência tolstoiana entre os atores que guiava. Além de abordar a influência exercida pelo escritor Lev Tolstói (1828-1910) dentro do Primeiro Estúdio via Leopold Sulerjítski, nosso estudo aprofunda o entendimento do papel fundamental que o diretor exerceu na formação do Sistema de Konstantin Stanislávski (1863-1938), sua incessante busca pela interligação entre estética e ética filosófica, e a conexão existente a partir de então entre pedagogia e criação, essencial até hoje à função do diretor teatral. Partindo do estudo da grande massa crítica e teórica de importantes teatrólogos russos como Pavel Márkov, Konstantin Rudniíski e sobretudo Elena Poliakova, ainda inéditos em português, visa-se introduzir as abordagens teóricas russas do papel desempenhado por Sulerjítski na vida cultural da Rússia do início do século XX.The present work deals with the artistic, literary and pedagogical heritage and the Russian translation of letters, excerpts from the diaries and essays by Leopold Antônovich Sulerzhitsky (1872-1916), one of the greatest theatrical and pedagogical masters of the early twentieth century. Leopold Sulerzhitsky , an artist, educator, lithographer and director deeply connected to the artistic and cultural life of his time, participated intensively in the activities of the First Studio of the Moscow Art Theater, becoming responsible for the propagation of elements of Tolstoy tendency among the Actors he led. In addition to addressing the influence exerted by the writer Liev Tolstoy (1828-1910) within the First Studio via Leopold Sulerzhitsky , our study deepens the understanding of the fundamental role the director played in the formation of Konstantin Stanislavski\'s System (1863-1938), his incessant Search for the interconnection between aesthetics and philosophical ethics, and the connection that existed between pedagogy and creation, essential until now to the function of the theatrical director. Based on the study of the great critical and theoretical mass of important Russian theatologists such as Pavel Márkov, Konstantin Rudnitsky and above all Elena Poliakova, still unpublished in Portuguese, the aim is to introduce Russian theoretical approaches to the role played by Sulerzhitsky in the cultural life of Russia from the beginning of the Century.
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Sanchez, Licia Maria Morais. "O processo Pina-Bauschiano como provocação à dramaturgia da memoria." [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285085.
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Orientador: Marcio Aurelio Pires de AlmeidaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho descreve a trajetória de uma experiência influenciada pela escola expressionista alemã, que culminou com a nossa convivência com a mais importante representante desta corrente no mundo contemporâneo atual, a criadora de teatro de dança Pina Bausch. Essa convivência nos mostrou caminhos que vieram enriquecer a fluência da nossa poética com um conseqüente fortalecimento da nossa identidade com projeção universal, permitindo-nos a realização de experiências tanto artísticas quanto pedagógicas e uma reflexão sobre a relação entre as práticas de Bausch e de Stanislavski
Abstract: The present work describes the unfolding of a personal experience - my own experience -, which was influenced by the Gennan Expressionist Dance School and culminated in a stint spent working with Pina Bausch, the creator of Dance Theater and the most important member of such school at the moment. This experience showed me new possibilities, which enriched the fluency of my poetics and strengthened my universal identity, therefore allowing me to have new artistic and pedagogical insights and to reflect about the practices of Pina Bausch and Stanislavski
Mestrado
Mestre em Artes Cênicas
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M'Rabet, Moez. "Stanislavski dans le théâtre américain : réception, transmission et évolution d'une approche du jeu théâtral." Paris 3, 2007. http://www.theses.fr/2007PA030035.
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Après la Russie, c’est sans doute aux États-Unis que l’influence de Stanislavski, « père » de l’art du jeu moderne, fut - et reste – prépondérante. Par son intensité, son ampleur, sa longévité, mais aussi par sa capacité à surmonter nombre d’obstacles (politiques, linguistiques, culturels), le rapport de Stanislavski au théâtre américain apparaît indéniablement comme un phénomène étonnant et fascinant. Rares furent, cependant, les études de cette influence tenant compte à la fois de l’héritage russe et de l’impact du Système sur le jeu de l’acteur américain, et s’inscrivant dans une perspective historique, esthétique, voire anthropologique. Cette recherche vise à définir les processus de réception, de transmission et les voies d’assimilation du Système aux États-Unis. Cette aventure a-t-elle amené une préservation et un enrichissement de cet héritage, ou, au contraire, l’a-t-elle marginalisé, déformé, voire trahi ? Il s’agit également de comprendre si cette transmission a servi le théâtre américain et lui a permis d’évoluer, ou l’a desservi, en provoquant une véritable crise esthétique et identitaire responsable de l’« éclatement » du milieu théâtral américain en différentes « confessions », prônant chacune une interprétation du Système, comme tendent à l’affirmer les travaux essentiellement nord-américains effectués, dans ce domaine, jusqu’à nos joursOutside Russia, it goes without saying that Stanislavski's influence in the USA, the father of the art of modern acting, has been the most important of all. Because of its intensity, its impact, its longevity as well as its capacity for overcoming a large number of obstacles ( political, linguistic and cultural), Stanislavski ' relationship to the American theatre certainly appears as an astonishing and fascinating phenomenon. However, there have been few studies about this influence taking into consideration altogether the Russian heritage and the impact of the system on the American actor, in line with the historical, aesthetic and perhaps even the anthropological perspective. This research aims at defining the processes of reception, transmission and the means of assimilation of the system in the USA. Has this adventure brought about the preservation and enrichment of the Russian heritage or, has it, on the contrary, marginalized it, distorted it or, perhaps even betrayed it? We also need to understand whether this transmission has served the American theatre and has allowed it to evolve or has harmed it by causing a true aesthetic and identity crisis which has led to the breaking-up of the American theatrical milieu into a variety of denominations, each one advocating its own interpretation of the system as it appears in the latest works in the field most of which are essentially North-American
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Otani, Daves. "Geratriz improvisacional espetacular = processo criativo da Boa Companhia =Spectacular improvisational generatrix : Boa Companhia's creative process." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284587.
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Orientador: Verônica Fabrini Machado de AlmeidaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente pesquisa trabalha com a hipótese de que existe uma geratriz improvisacional espetacular (GIE) que, por meio de matrizes criativas definidas anteriormente e/ou encontradas durante o período inicial da montagem de um espetáculo teatral, proporciona que a improvisação, conduzida e provocada pelo tema do espetáculo, gere, ao mesmo tempo, precisão e abertura, rigor e risco. O período inicial marca o espetáculo de forma a dar-lhe uma pré-configuração, a estrutura enquanto um corpo a ser constantemente modelado, no entanto, sedimentado em uma matéria já pré-definida. Para investigar a hipótese, analiso o processo criativo e as apresentações públicas do espetáculo teatral "Primus" (adaptação do conto Comunicado a uma academia, de Franz Kafka) e, via a comparação, investigo ainda o processo criativo de "Mister K. e os artistas da fome" (adaptação do conto Um artista da fome, de F. Kafka) em busca de aprofundar a investigação e comprovar o fenômeno da GIE. Ambos os espetáculos são dirigidos por Verônica Fabrini e montados pelo grupo de pesquisa cênica "Boa Companhia", do qual participo como ator, desde sua formação, em 1992. É uma investigação participativa, do ator em diálogo com a encenação, do atuante que participa e, a partir de sua singularidade, compõe coletivamente. A reflexão toma como mote de partida os princípios conceituais do encenador e teórico russo C. Stanislavski, retrabalhados por E. Kusnet: improvisação como análise ativa, circunstancia propostas, objetivo da encenação, memória, ação interior e exterior, entre outros. Referencia ainda o trabalho aspectos do pensamento do filósofo G. Bachelard: imaginação material, potência do instante e intuição. O estudo conclui que a geratriz improvisacional espetacular de fato se caracteriza no trabalho da "Boa Companhia"
Abstract: The following research deals with the hypothesis that it does exist a spectacular improvisational generatrix (SIG) that, through a creative matrix previously defined and /or discovered during the theatrical initial stage, provides that the improvisation, conducted and provoked by the show's theme, generates at the same time precision and openness, rigor and risk. The initial period defines the show and gives it a pre-configuration to be worked - the structure as a body to be constantly shaped, however, settled in a pre-defined subject. To investigate that hypothesis, I do analyze the creative processes and public theatrical performances of the show "Primus" ( Franz Kafka tale's adaptation of "A report to an academy") and, by comparation, I do analyzed too the play "Mister K. e os artistas da fome" (Kafka tale's adaptation of "A hunger artist") both directed by Veronica Fabrini and performed by the scenic research group "Boa Companhia", in which I belong as an actor since it's foundation in 1992. It's a participatory investigation, a dialogue between actor and staging, of the actor that participates and forms the collective from its singularity. The reflexion begins with the russian theoretical Constantin Stanislavski's principles and theorical concepts, reworked by Eugenio Kusnet: improvisation as active analysis, event, given circumstances, staging objective, memory, inner and outer action. This work makes reference also to the philosopher Gaston Bachelard: material imagination, instant and intuition's power. The study concludes that the spectacular improvisational generatrix (SIG) in fact exists in Boa Companhia's performances and theatrical productions
Doutorado
Artes Cenicas
Doutor em Artes
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Johnson, Anthony Lewis. "Training the Young Actor: A Physical Approach." University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1258075804.
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Tourinho, Ligia Losada. "Um estudo de construção da personagem a partir do movimento corporal." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284814.
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Orientador: Eusebio Lobo da SilvaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa apresenta um estudo sistemático sobre a construção da personagem nas Artes Cênicas, pelo prisma do movimento corporal, utilizando como principal suporte teórico e prático os estudos da Coreologia de Rudolf Von Laban e da Técnica de Stanislavski. Tomamos como base para a fundamentação teórica a idéia de o homem ser uma corporeidade, constituída pela Gestalt CORPO-MENTE-ESPÍRITO, presente nos estudos de Merleau-Ponty, nas consciências corporais e em todos aqueles que acreditam na indivisibilidade do ser humano. Levantamos a hipótese de que a relação de cada intérprete com seu corpo próprio interfere nas extensões de sua interpretação e da encenação em si. O desenvolvimento desta pesquisa se deu a partir da experimentação destes conceitos aplicados a dois tipos de propostas: um processo pedagógico de sistematização destas idéias e uma experimentação de construção de personagem, sob o ponto de vista do intérprete
Abstract: This research presents a study about the scenic construction of the character, based on body movement, and guided by the practical and theorical studies of Rudolf Von Laban choreology and Stanislavski tecnich. The foundation of this study was based on the idea of the man being an unit, as Gestalt BOBY-MIND-SPIRIT, which was present on Merleau-Ponty studies, in body consciousness and in the believe of the indivisibility of the human being. This project enquires the relation of each interpreter with his own body and how it interferes in the extension of his interpretation and in all the staging. The development of this research was based on these concepts, applied on two propositions: the pedagogic process of systematization of these ideas and the experimental on character construction, under the view of the performer
Mestrado
Artes
Mestre em Artes
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Mello, Simone Pricoli de. "A montagem de Um mês no campo de Ivan Turguêniev por Konstantin Stanislávski: processo de criação do espetáculo." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-05032013-110100/.
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Em 1909, no palco do Teatro de Arte de Moscou, o afamado diretor russo Konstantin Stanislávski realiza a montagem da peça de Ivan Turguêniev Um mês no campo. Além de ser uma brilhante interpretação de obra clássica da literatura russa de um autor pouco difundido nesse país, o espetáculo marca o início da elaboração dos primeiros elementos do sistema Stanislávski, que definiria novas possibilidades para a arte do ator, momento decisivo na sua trajetória teatral. Esta dissertação apresenta o processo de montagem do espetáculo, reflete os primeiros germes do sistema Stanislávski e analisa as abordagens interpretativas do encenador na poética dramática da peça Um mês no campo.In 1909, on the stage of Moscow Art Theatre, the acclaimed Russian director Konstantin Stanislavsky staged Ivan Turgenev s play, A Month in the Country. This performance was a decisive moment in his theatrical trajectory. Besides being a brilliant interpretation of a classic work of the Russian literature written by an author not widely known in this country, it was the starting point of development of the first elements of Stanislavskys \"system\", which would define new possibilities for the art of the actor. This dissertation presents the creation process of the spectacle, reflects on the first seeds of Stanislavskys \"system\" and analyses the directors interpretive approaches to the poetic drama of A Month in the Country.
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Barbosa, Tieza Tissi. "As partituras de Stanislávski para As três irmãs, de Tchekhov: tradução e análise da composição espacial da encenação." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-28022013-115838/.
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Um dos primeiros e principais encenadores do século XX, Konstantin S. Stanislávski é amplamente conhecido por suas obras voltadas ao ator. Suas encenações, que fascinaram o público russo e das principais capitais do mundo e influenciaram o teatro ocidental, não são tão discutidas e estudadas. O presente trabalho traz em tradução direta da língua russa, inédita em português, as Partituras de Encenação de Stanislávski para a montagem do texto As três irmãs, de Anton Tchekhov, também em nova tradução direta. O encontro entre K. Stansilávski e A. Tchekhov foi de extrema importância para a construção da identidade artística do Teatro de Arte de Moscou (TAM), uma das mais importantes companhias de teatro do mundo. Os vestígios desse encontro estão minuciosamente sistematizados nas Partituras de Stanislávski. Apoiado no texto dramático o encenador criou centenas de notas esclarecendo desde entonações da fala das personagens até ruídos externos e detalhes da maquinaria cênica. Com a leitura dessas partituras torna-se possível imaginar a montagem do TAM e compreender que tipo de diálogo o encenador estabelece com o texto dramático de Tchekhov.One of the twenty centurys first and most important theatre directors, Konstantin S. Stanislavsky is also broadly known for his studies and researches on acting. Despite fascinating audiences in Russia and in the main capitals of the world, influencing most of the western theatre, Stanislavskys stagings have not been entirely analised or discussed. The current study is a unique translation into Portuguese of Stanislavskis staging scores to the play Three sisters by A. Chekhov. In addition, it presents a new translation of the play, also directly from Russian. The meeting between K. Stanislavski and A. Chekhov was essential for the construction of an artistic identity for the Moscow Art Theatre (MAT), one of the worlds leading theatre companies. Traces of this gathering are carefully detailed on Stanislavskys staging scores. Based on Chekhovs text, the director created hundreds of notes clarifying since the intonation of characters voices and external sounds to details of sets. By analising Stanislavskys staging scores it is possible to imagine MATs production as well as comprehend the type of dialogue the director establishes with Chekhovs dramatic text.
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Facio, Robert J. "How to Tame a Shrew (11 Things I Hate About Her) An Actor's Method to Characterizing Petruchio in The Taming of the Shrew." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1794.
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The Taming of the Shrew is an early comedy that exposes the oddities we take for granted: curious conventions, wild assumptions, gender roles, relationships, social status, fashion, and everything else we know so defectively. The given circumstances of the script and Petruchio are specific in choice, yet broad in interpretation. Petruchio, the catalyst behind Katherine’s character arc, needed to not only be believable in his ways, but likeable by the audience.
This thesis examines the process required to successfully develop and bring to life the character of Petruchio to our modern audience. It includes historical background information on William Shakespeare and the origins of the play itself, Sanford Meisner’s Techniques (moment-to-moment analysis & actioning) and Konstantin Stanislavski’s system are included with the scored actor’s script, journals recorded by the actor to verify his victories and defeats during the six-week production process and critiques to support the success of the production.
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Pajares, Lazarte Álvaro André. "Lecoq a través de Stnislavski: la trasposición de la secuencia de los 20 movimientos en la ejecución de acciones dramáticas." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2020. http://hdl.handle.net/20.500.12404/16858.
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Canalles, Pablo. "Dos princípios do ator : a análise da ação física através da tríade percepção-imaginação-adaptação, a partir dos pressupostos de Konstantin Stanislávski." Universidade do Estado de Santa Catarina, 2008. http://tede.udesc.br/handle/handle/1324.
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Previous issue date: 2008-08-25Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The essay presented here investigates the construction of the Physical Actions according to Russian actor, director and educationalist Konstantin Stanislavski, through the perception-imagination-adaptation triad, considering that these three properties of the human being are of fundamental importance for the actor's work. The research aims to create a compilation of Stanislavski's life and work, and how he arrived at his theory of the Physical Actions, always looking for true and organic acting, having as a goal the emotion of the actor. Therefore, part of this study is a profound investigation of the laws of man in action - applied by Stanislavski and, here, correlated to each of the three properties; as well as the last great contribution of the Russian scholar to the theatrical arts: the active analysis, which encompasses the laws, the physical action and the other elements of his System. The Russian master, at the end of his studies, leaves as his legacy, the distinct idea that the physical action is only the path to creation, which gives the actor the possibility of penetrating his or her own subconscious and being moved. To Stanislavski, it is through a series of actions performed by the actor that the public can see emotion run through the scene
O trabalho aqui apresentado procura investigar como se dá a construção das ações físicas, segundo o ator, diretor e pedagogo russo Konstantin Stanislávski, através da tríade percepção-imaginação-adaptação, tendo em vista que essas três faculdades do ser humano são de fundamental importância para o trabalho do ator. A pesquisa visa a fazer um apanhado geral sobre a vida e a obra de Stanislávski, e como ele chegou à questão da ação física, buscando sempre uma atuação verdadeira e orgânica, tendo como fim a emoção do ator. Nesse sentido, fazem parte do trabalho uma investigação aprofundada sobre as leis do homem em ação - postuladas por Stanislávski e, aqui, relacionadas a cada uma das três faculdades - e a última grande contribuição do pesquisador russo à arte teatral: a análise ativa, que engloba as leis, a ação física e os demias elementos do Sistema. O mestre russo, ao fim de seus estudos, lega-nos a primorosa idéia de que a ação física é apenas um meio para a criação, que possibilita ao ator penetrar no seu próprio subconsciente e emocionar-se. Para Stanislávski, é através de uma série de ações realizadas pelo ator que o público pode ver a emoção percorrendo a cena
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Trevisan, Maria Christina Achutti [UNESP]. "Stanislávski-Laban: do texto à encenação." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/86878.
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trevisan_mca_me_ia.pdf: 885979 bytes, checksum: 66089eeec0f88c3c04ec404289460eb7 (MD5)Universidade Estadual Paulista (UNESP)
Esta pesquisa apresenta um caminho de encenar um texto teatral a partir da ação dramática de cada cena, utilizando a análise de texto e a movimentação corporal do ator como estímulos de criação, articulando, ao longo do percurso, esses dois elementos. Desenvolvemos esse trabalho fundamentados pelos estudos de Constantin Stanislávski e Rudolf Laban. Em um primeiro momento, aprofundamos nosso conhecimento sobre os dois autores e recortamos dos seus sistemas o que era pertinente a nossa proposta, isto é, os elementos que poderiam influenciar no tratamento da ação dramática. Em um segundo momento, aplicamos esses conteúdos na encenação do texto teatral O Provedor, de Marcos Benedito de Oliveira. No caminho que percorremos do texto a sua representação, confirmamos a hipótese formulada: a análise de texto segundo Stanislávski pode identificar e resumir as ações dramáticas de cada cena; por sua vez, o movimento corporal do ator preparado por meio do Sistema Laban pode executar essas ações expressivamente, estabelecendo-se, a partir do momento em que começamos a levantar o espetáculo, um diálogo dinâmico e constante entre esses dois elementos. Os resumos das ações dramáticas constituíram-se nas nossas células matrizes de criação, e a encenação foi construída e elaborada a partir deles...
This research presents a way of acting a theatrical text starting from the dramatic action in each scene, using the text analysis and the actor’s body movement as creation incentive, joining, along the movement, these two elements together. We developed this job based on Constantin Stanislávski and Rudolf Laban’s studies. In the first moment, we went deeper into our knowledge about these two authors and we took from their systems what was pertinent to our proposal, that is to say, the elements that could have influence in the treatment of the dramatic action. In the second moment, we applied these contents in the staging of the theatrical text O Provedor, of Marcos Benedito de Oliveira. From the text to the performance, we confirmed the formulated hypothesis: the text analysis according to Stanislávski can identify and summarize the dramatic actions of each scene; on the other hand, the actor’s body movement prepared by the Laban’s System can accomplish these actions meaningfully, establishing, since we started to build the show, a constant and dynamic dialog between these two elements. The summaries of the dramatic actions were formed in our creation mother cells, and the staging was built and elaborated from them. In this way, we highligt the relation between the stage score generated by the study of the text and the body movement, one supplementing and transforming the other... (Complete abstract click electronic access below)
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Henckes, Leonel. "O Ator da Organicidade: impulso, ações físicas e contato em modos de atuação contemporâneos." Escola de Teatro, 2015. http://repositorio.ufba.br/ri/handle/ri/26951.
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FAPESB - Fundação de Amparo a Pesquisa do Estado da Bahia e PDSE/CAPES - Programa de Doutorado Sanduíche no Exterior da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior.
Esta pesquisa parte de um estudo do conceito-procedimento contato em Jerzy Grotowski (1933 - 1999) como chave dos processo criativos e pedagógicos desenvolvidos através do Sistema de Ações Físicas pela via da Organicidade. Tanto contato quanto organicidade são noções que provocaram transformações radicais no percurso criativo e investigativo de Grotowski. Interessava saber se ele poderia se configurar como noção chave para a operacionalização do sistema e dos processos criativos pautados na diretriz ética e poética da organicidade. O estudo do contato levou a necessidade de retornar a Konstantin Stanislavski (1863 - 1938) e empreender um estudo mais aprofundado da noção de organicidade que acabou resultando na identificação de um perfil de ator denominado ator da organicidade. Através da etnografia como metodologia e usando a metáfora da viagem, empreendeu-se uma jornada por teorias e práticas (do pesquisador e de outros artistas) a fim de desenhar o modo de atuação e precisar as características da técnica do ator da organicidade. Ampliou-se o raio de alcance do estudo para o teatro de hoje (contemporâneo), a partir do trabalho de dois diretores alemães em atuação na cidade de Berlim – Alemanha: Thomas Ostermeier e René Pollesch, a fim de identificar pontos de interseção da técnica do ator da organicidade com modos de atuação contemporâneos e, assim, abrir espaço para o desenvolvimento de metodologias e teorias para o ator de hoje e de amanhã.
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Scandolara, Camilo. "Os estudios do Teatro de Arte de Moscou e a formação da pedagogia teatral no seculo XX." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285042.
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Orientador: Maria Lucia Levy CandeiasDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho aborda a experiência dos estúdios do Teatro de Arte de Moscou (T.A.M.) como um dos pilares da formação da tradição teatral ocidental do século XX. Os estúdios do T.A.M. inserem-se em um movimento característico do processo de renovação teatral do início do século passado: o afastamento em relação aos centros da produção com o objetivo de reconstruir o ofício do ator e do diretor desde as suas bases. Partindo da constatação de que renovar o teatro implicava, antes de tudo, em criar uma pedagogia teatral sólida, Leopold Sulerjítski, Evguiêni Vakhtângov e Konstantin Stanislávski geraram espaços de experimentação nos quais a pedagogia era concebida como ato criativo, como atividade de invenção de possibilidades de teatro. Utiliza-se nesta pesquisa a análise das trajetórias de Sulerjítski e de Vakhtângov junto aos estúdios como referência para a compreensão do estabelecimento de um entendimento do fazer teatral que antecede e transcende a dimensão do espetáculo
Abstract: This dissertation approaches the experience of the Moscow Art Theatre studios, as one of the pillars of the formation of theatrical tradition in the West, in the Twentieth Century. The studios of the Moscow Art Theatre are part of a movement which characterizes the theatre renovation process of the beginning of the Twentieth Century, that is, the detachment from the main stream production, in order to re-build both acting and directing from their basis. Based on the notion that any theatre renewing would imply in the creation of a solid theatrical pedagogy, Leopold Sulerjítski, Evguiêni Vakhtângov and Konstantin Stanislávski created spaces for experimentation, in which such a pedagogy was conceived as acts of creation, as the invention of possibilities in theatre. Thus, this research presents the analysis of Sulerjítski's and Vakhtângov's trajectory in the MAT studios and offers new elements for the understanding of theatre practices which precede and transcend theatrical performances
Mestrado
Mestre em Artes
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Poggioli, Anne. "La révolution de l'acteur au XXe siècle : quel acteur pour quelles fables ? : le jeu masqué, du théâtre au cinéma." Paris 7, 2012. http://www.theses.fr/2012PA070100.
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À la fin du XIXe siècle et au début du XX', un esprit de chantier accompagne la crise de la représentation qui ébranle tous les arts. Le théâtre — art séculaire — et le cinéma — art naissant — accomplissent la révolution de l'art de l'acteur et le font entrer dans la modernité. Quatre maîtres russes — Stanislavski, Meyerhold, Vakhtangov et Mikhaïl Tchekhov — décident de reformuler la poétique théâtrale ainsi que le sens spirituel, social et politique de la scène en se focalisant sur l'acteur. Des écrits théoriques de ces réformateurs pionniers bientôt suivis par d'autres, émerge la conception d'un nouveau style de jeu que nous avons décidé de nommer jeu masqué en raison de ses origines. Il puise en effet son langage et sa codification dans l'art du masque, bien qu'il n'en fasse plus usage. L'analyse de certains grands films qui ont marqué l'histoire du septième art montre que le jeu masqué se retrouve autant sur les écrans que sur scène. L'acteur de cinéma, héritier de cette révolution, en est aussi et paradoxalement le générateur. En prenant pour objet d'étude la naissance et l'évolution du jeu masqué et la confrontation de celui-ci avec le jeu psychologique — approche radicalement différente de l'art de l'interprétation cette thèse tente de mettre en évidence les enjeux qu'entretient l'art avec la société. Le mode d'interprétation révèle quelque chose de la fable et la mise en relation des textes théoriques avec la présence effective des acteurs sur l'écran permet de mettre en lumière l'impact philosophique et politique de l'art de l'acteur sur celui de la fableAt the end of the nineteenth century and beginning of the twentieth, a spirit of rebuilding went hand in hand with the crisis of performance that shook the arts to their core. Theater — age-old art — and cinema — nascent art — were responsible for the revolution in acting, bringing it into modem times. Four great Russian masters — Stanislavski, Meyerhold, Vakhtangov and Michael Chekhov — decided on a reformulation of theatrical poetics, such that the spiritual, social and political meaning of the stage focused on the actor. It was out of the theoretical works authored by these pioneers, who were quickly joined by other thinkers, that emerged the conception of a new acting style, which we have decided to refer to as mask acting, in reference to its origins. Indeed, this new style draws its language and its codification from the art of the mask, even if the mask itself is no longer used. The analysis of certain classic films that have left their mark on the history of cinema shows that mask acting is present both on the screen and on the stage. The film actor is the heir to this revolution, but he also (and paradoxically) acts as a generating force for it. By studying the birth and the evolution of mask acting and by placing it in parallel and in comparison with psychological acting, this thesis brings to the fore the important issues that art maintains with society. The interpretation reveals something about the story, and the juxtaposition of the theoretical texts with the actual presence of actors on the screen allows us to shed light on the philosophical and political impact of acting on that of the story
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Becchetti, Patrizia. "Anthropologie du Performer : parcours et pratiques de « l’art comme véhicule » auprès du Workcenter of Jerzy Grotowski and Thomas Richards." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100118.
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En suivant les parcours et les pratiques de l’«art comme véhicule» auprès du Workcenter of J. Grotowski and Thomas Richards je me propose de mettre en évidence les éléments mobilisés dans la formation du Performer, en tant que agent créatif dans un contexte artistique spécifique. Dans le laboratoire du Workcenter, la tradition théâtrale stanislavskienne dialogue avec les pratiques rituels pour expérimenter les possibilités de l’action dramatique réflexive et expressive. L’art performative, envisagé comme véhicule de transformation interhumaine, devient ici un projet chargé de tensions éthiques et culturelles. Cette culture habite le théâtre comme possibilité de formation d’un «homme nouveau», qui maîtrise l’art de la fiction performative pour questionner et expliciter les "fictions" dans la CultureFollowing the practices of «art as vehicle» at the Workcenter of Jerzy Grotowski and Thomas Richards, I focus on the performative elements that are mobilized in the training of the Performers, considered as creative agents in a specific artistic context. At the Workcenter in Pontedera, the theatrical tradition initiated by Stanislavskij dialogues with ritual practices in order to experiment the potentialities of reflexive and expressive dramatic action. Performing art is considered here as a vehicle of human development and transformation
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Steiger, Amy Lynn. "Actors as embodied public intellectuals: reanimating consciousness, community and activism through oral history interviewing and solo performance in an intertextual method of actor training." Thesis, 2006. http://hdl.handle.net/2152/3502.
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Steyn, Delport Leandi. "Conceptual blending and the process from text to performance in theatre and song." 2014. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001296.
Full textAbstract:
M. Tech. DramaSources on musical theatre training by experts Rocco Dal Vera, Joe Deer, Tracy Moore and Allison Bergman, give the impression that there is a lacuna in training when teaching acting skills for singing in musical theatre. This dissertation, in an attempt to fill this lacuna, constructs a strategy of engagement by using cognitive science, together with Stanislavsky's acting techniques and music theory to explain the process from text/sheet music (the 'digital' domain) to performance (the 'analogue' domain). In this dissertation the 'digital' is seen as a metaphor for bounded, specific and singular phenomena (such as a written word or music note), and the 'analogue' is seen as a metaphor for a continuous, undulating and unbroken line of an event. The aim of this dissertation was achieved by conducting a critical literature study on the subjects of second generation cognitive science, Stanislavsky's acting techniques, and music theory and analysis.
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Bernardi, Milagros. "Por debajo de las palabras : el subtexto del actor." Bachelor's thesis, 2020. http://hdl.handle.net/11086/17358.
Full textAbstract:
la investigación que presentamos a continuación constituye el trabajo final de grado de la licenciatura en teatro, dictada en la facultad de artes de la universidad nacional de córdoba, de la alumna milagros bernardi1. el objeto de estudio que articula todo el proceso de este trabajo es el subtexto como desarrollo de la estructura interna del actor, para apropiarse de la palabra del autor, cuyo objetivo general es: sistematizar experiencias teórico-prácticas sobre el procedimiento de apropiación interna que el actor ejerce a partir del texto del autor.fil: bernardi, milagros. universidad nacional de córdoba. facultad de artes. departamento académico de teatro; argentina.