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Journal articles on the topic 'Konstantin Stanislavskij'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

Marchenko, Herman. "Vsevolod Meyerhold’s Biomechanics and Boris Zakhava's Educational Work." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (December 10, 2020): 58–74. http://dx.doi.org/10.36340/2071-6818-2020-16-4-58-74.

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The article deals with two different approaches to training actors. One of them is Stanislavski’s system, and the other is Meyerhold’s biomechanics. Konstantin Stanislavski and Vladimir Nemirovich-Danchenko are reformers of the Russian theater. As the Art Theater founders, they understood that the emergence of a new drama would require a completely different approach to working with actors and a different design of the stage space. With regard to new performances, it became possible to pose critical social questions related to everyday life before the viewer. Therefore, it was logical that the director's profession became very important. Working on his system, Stanislavski paid great attention to the need for an actor’s comprehensive development. Many wonderful actors who attended his acting school were among the students of this great theater director. Vsevolod Meyerhold was one of them. However, the latter chose his direction and began to engage in staging performances actively and search for new means of expression, having come to an absolute convention on the stage. Meyerhold created his method of working with an actor, known as biomechanics, in the theatrical environment. The principle of this approach is the opposite of Stanislavski's system. With all the difference in views on the theater, in the early stages of Meyerhold's independent practice, Konstantin Stanislavski offered him the opportunity to cooperate, which led Vsevolod Meyerhold to the Studio on Povarskaya Street in Moscow. Evgeny Vakhtangov was another student of Stanislavski and Nemirovich-Danchenko. At the request of Stanislavski, Vakhtangov was engaged in educational work in the studio of Moscow Art Theatre. Unlike Meyerhold, he thoroughly mastered the system and then created his theatrical direction called fantastic realism. Vakhtangov's legacy was preserved thanks to the activities of his students, among whom was Boris Zakhava. He turned to Meyerhold for help and spent several seasons with the master, gaining invaluable experience, including revealing the features of biomechanics in practice. Boris Zakhava remained faithful to Vakhtangov’s principles and continued his teacher’s work at the Shchukin Theater Institute.

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2

Man Hong, Dao. "The Stanislavsky system plays an important role in the theater of Vietnam." Voprosy kul'turologii (Issues of Cultural Studies), no. 3 (February 18, 2021): 238 (280)—243 (285). http://dx.doi.org/10.33920/nik-01-2103-04.

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K.S. Stanislavsky plays an important role in the theater of Vietnam. Konstantin Sergeevich Stanislavsky (real name Alekseev; 1863–1938) — actor, director, theater teacher, founder and director of the Moscow Art Theater (Moscow Art Theater). People's Artist of the USSR (1936). An activist, thinker and major theater theorist, he, on the basis of modern science, created a school of theatrical art — the Stanislavsky generation. In addition to a successful psychological approach to the performing arts, he also contributed greatly to the formation of progressive art and art for the people. English version of the article on pp. 280-285 at URL: https://panor.ru/articles/stanislavskis-system-plays-an-important-role-in-vietnamese-theatre/65897.html

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Hobgood, Burnet M. "Stanislavski's Books: an Untold Story." Theatre Survey 27, no. 1-2 (November 1986): 155–65. http://dx.doi.org/10.1017/s0040557400008826.

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A number of questions about Stanislavski's writings on acting and the theatre still hang in the air nearly fifty years after his death. It seems curious that this should be the case when the ideas and books by the great Russian director-actor-teacher are so well known and have exerted such a profound influence on the modern theatre. The persistence of these questions through the years has even raised doubts concerning the authenticity of the writings attributed to Stanislavski and the accuracy of translations from his original Russian texts. As a result, serious students of Stanislavski's “System” feel unable to discriminate among the current interpreters of the man born Konstantin Sergeyevich Alexeyeff.

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4

Skinner, Amy. "Maria Shevtsova, Rediscovering Stanislavsky." Modern Drama 64, no. 1 (March 2021): 124–26. http://dx.doi.org/10.3138/md.64.1.br6.

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Valuable for scholars, practitioners and students, Shevtsova’s volume re-evaluates the Konstantin Stanislavsky’s practice, providing significant insights into his work based on assiduous analysis. Her work also offers challenges to the reader on issues of theatre historiography and practice, exploring Stanislavsky’s current scholarly context and his ongoing legacy.

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Senelick, Laurence. "The ever-widening contexts of Konstantin Stanislavsky." Stanislavski Studies 8, no. 1 (December 11, 2019): 7–21. http://dx.doi.org/10.1080/20567790.2019.1700734.

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6

Daboo, Jerri. "Konstantin Stanislavsky Michael Chekhov Vsevolod Meyerhold Jacques Lecoq." Theatre Survey 47, no. 1 (April 13, 2006): 146–50. http://dx.doi.org/10.1017/s004055740638009x.

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The Routledge Performance Practitioners series, edited by Franc Chamberlain, is a new set of introductory guides to a range of key figures in the development of twentieth-century performance practice. Each book focuses on a single practitioner, examining his or her life, historical context, key writings, and productions, and a selection of practical exercises. These concise volumes are intended to offer students an initial introduction to the practitioner and to “provide an inspiring spring-board for future study, unpacking and explaining what can initially seem daunting” (Merlin, ii). The list of practitioners in the complete series include Stanislavsky, Brecht, Boal, Lecoq, Grotowski, Anna Halprin, and Ariane Mnouchkine, thus examining a range of performance styles and practices, creating a valuable overview of the development of performer training through the twentieth and into the twenty-first centuries. Such interest in the history of specific approaches to training performers has been addressed in other volumes, such as Twentieth-Century Actor Training, edited by Alison Hodge (New York: Routledge, 2000), and Acting (Re)considered: A Theoretical and Practical Guide, edited by Phillip Zarrilli (London: Routledge 2002). Both those collections contain in-depth chapters focusing on aspects of the selected practitioners' theoretical and practical approaches to the principles and concerns in their work. Where the books in the Routledge Performance Practitioners series differ is that they offer a more general overview of the practitioner in one volume, and in addition to the historical context, they provide a set of practical exercises that can be carried out by the student or teacher, as well as by the actor or director. The books are well presented, divided into clear sections, with relevant photographs and diagrams. There are also sidebars providing definitions and further information on key figures and terms mentioned in the main text. This review covers the first four books in the series, examining the work of Konstantin Stanislavsky, Michael Chekhov, Vsevolod Meyerhold, and Jacques Lecoq.

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Viana, Fausto. "O Teatro de Arte de Moscou e seus arquivos." Revista Aspas 9, no. 1 (August 29, 2019): 43–62. http://dx.doi.org/10.11606/issn.2238-3999.v9i1p43-62.

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O Teatro de Arte de Moscou (TAM) foi fundado em 1898 por Konstantin Aleksiêiev (cujo nome artístico era Stanislavski) (1863-1938) e por Vladimir Niemiróvitch-Dântchenko (1858- 1943). Toda sua documentação, produzida ao longo de 121 anos de atividade, é rica fonte de informações para o pesquisador que pretende se aprofundar nas inúmeras possibilidades investigativas que uma companhia de teatro oferece, desde as técnicas de interpretação e direção até a documentação de administração e a correspondência pessoal entre os membros da companhia. Neste artigo, desejo abordar o que o TAM ofereceu à minha pesquisa sobre trajes de cena nas encenações de Stanislavski, sob as diferentes perspectivas documentais apresentadas por Johanna W. Smit e Viviane Tessitore para arquivos, bibliotecas e museus.

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8

Whyman, Rose. "Explanations and Implications of ‘Psychophysical’ Acting." New Theatre Quarterly 32, no. 2 (April 13, 2016): 157–68. http://dx.doi.org/10.1017/s0266464x16000051.

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The term ‘psychophysical’ in relation to acting and performer training is widely used by theatre scholars and practitioners. Konstantin Stanislavsky is considered to have been an innovator in developing an approach to Western acting focused on both psychology and physicality. The discourse encompasses questions of practice, of creativity and emotion, the philosophical problem of mind–body from Western and Eastern perspectives of spirituality. In this article, Rose Whyman attempts to uncover what Stanislavsky meant by his limited use of the term ‘psychophysical’ and suggests that much of the discourse remains prone to a dualist mind–body approach. Clarification of this is needed in order to further understanding of the practice of training performers. Rose Whyman is a Senior Lecturer in the Department of Drama and Theatre Arts at the University of Birmingham. She researches the science of actor training and is the author of The Stanislavsky System of Acting (Cambridge, 2008) and Stanislavsky: the Basics (Routledge, 2013).

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Merlin, Bella. "Which Came First: The System or ‘The Seagull’?" New Theatre Quarterly 15, no. 3 (August 1999): 218–27. http://dx.doi.org/10.1017/s0266464x00013014.

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Anton Chekhov's dissatisfaction with Konstantin Stanislavsky's early productions of his plays is well known and oft-discussed. However, it may be argued that the detailed analysis to which Stanislavsky subjected the script of The Seagull, though offensive to the author's intentions, led to the germination of Stanislavsky's acting system as well as laying the foundations for the success of Chekhov's own dramatic career. Bella Merlin, Lecturer in Drama and Theatre Arts at Birmingham University, explores this avenue of debate by assessing the possible reasons for the Alexandrinsky Theatre's failure in its premiere of The Seagull in 1896. Thereafter, the mutual dependency of Chekhov and Stanislavsky is discussed with reference to the success of the Moscow Art Theatre's production of 1898. In the following article in this issue, she links these reflections on the play's early fortunes to its relevance to the ‘Method of Physical Actions’ developed by Stanislavsky towards the end of his career.

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Jiménez Draguicevic, Pamela Soledad. "Los signos del método de las acciones físicas de Stanislavski en el ámbito escénico contemporáneo." RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas 8, no. 16 (July 1, 2019): 1–27. http://dx.doi.org/10.23913/ricsh.v8i16.173.

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Este artículo se ha enfocado en esclarecer los conceptos de sistema, método y técnica gestados en torno a Konstantín Stanislavski y cómo los fue utilizando a lo largo de su trayectoria. A su vez, ha destacado la vigencia de uno de estos métodos en el ámbito escénico actual y los signos que se develan en este. A pesar de que Stanislavski expuso con cierta claridad su continua investigación y que sus compiladores cercanos no mostraron divergencias entre ellos, al transcribir su terminología y sus procedimientos, se ha presentado una inconsistencia terminológica por parte de sus compiladores indirectos. Se partió de un marco teórico preciso que logró aclarar qué es sistema, método y técnica enfocados al área teatral, con la finalidad de formular conceptos definidos. Y se aplicó un método explicativo-descriptivo para exponer el cambio del método de la memoria de las emociones al método de las acciones físicas, ambos de Stanislavski, sin perder un sistema como marco unificador, y también para detallar los signos característicos que han identificado al segundo método; todo ello mediante el análisis de materiales documentales relevantes. El método de las acciones físicas del sistema de Stanislavski es actual, vigente y necesario, puesto que lleva al actor a poner atención en las acciones físicas y en la fuerza interior que las provoca; a definir lo que haría el actor en la vida real si se encontrara en esa situación y en la condición del personaje interpretado, y a construir no solo un método psicotécnico de crear la vida del personaje, sino un método completo que entiende, reflexiona, analiza y responde a los diferentes ámbitos de la creación de un personaje a través de signos precisos y claros.

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11

Silberschatz, Marc. "Creative State / Flow State: Flow Theory in Stanislavsky's Practice." New Theatre Quarterly 29, no. 1 (February 2013): 13–23. http://dx.doi.org/10.1017/s0266464x1300002x.

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Nearly seventy-five years after his death, Konstantin Stanislavsky remains a toweringly influential figure, and many fundamental ideas about acting can be traced back to his practice. In this article, Marc Silberschatz examines the correspondences with, and divergences from, flow theory – the theory surrounding the psychological state associated with ‘being in the zone’ – in Stanislavsky's practice. Although separated by vast differences in social, cultural, and historical context, some significant and increasing correspondences between flow theory and Stanislavsky's practice are revealed and examined. Additionally, divergences from flow theory are identified and interrogated, suggesting that Stanislavsky's reliance on fixed, repeatable performance scores and divided consciousness are direct impediments to the achievement of flow. Marc Silberschatz is a PhD candidate at the Royal Conservatoire of Scotland. He is also a professional theatre director whose work has been seen in both the United States and Scotland.

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12

Shevtsova, Maria. "‘Small Forms’ and Large: the Russian Case at the Golden Mask, 2019." New Theatre Quarterly 35, no. 03 (July 18, 2019): 275–85. http://dx.doi.org/10.1017/s0266464x19000277.

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Every year at the Golden Mask National Theatre Award and Festival in Moscow, the Russian Case has its special characteristics, and 2019 clearly reflected the selection made by the many critics who travel far and wide across Russia to choose shows for the Festival. In this overview Maria Shevtsova gives some idea of the work in the category generally described as ‘small forms’, which dominated the Russian Case, and breaks the category down into the different genres gathered under its name. She also refers to several productions that are ‘large forms’, notably those directed by Konstantin Bogomolov and Yury Butusov, who are major directors in the field acclaimed nationally and internationally. Shevtsova's The Cambridge Introduction to Theatre Directing (2014, co-authored) is a landmark in research on European directors and her Rediscovering Stanislavsky is forthcoming (2019). She is co-editor of New Theatre Quarterly.

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13

Pacheco Giraldo, Juan Carlos. "La prostituta actriz." Interacción 14 (October 1, 2015): 27–50. http://dx.doi.org/10.18041/1657-7531/interaccion.0.2335.

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El estudio toma como fuente la obra Diario de una prostituta argentina de Claudia Minoliti, que narra la historia de una prostituta inmigrante en Alemania. Realiza un análisis de la gestión emocional de la protagonista, tomando como parámetros la sociología de las emociones de Arlie Hochschild y el sistema del director de teatro Konstantin Stanislavski. Con ello explora un tipo de análisis dramatúrgico aplicado a la narración sobre la prostitución, utilizando el método interpretativo tradicional. Este artículo muestra la tensión y complementariedad de los mundos de la prostituta, sugiere un perfil que integra la mercantilización del servicio sexual pago con las gestión emocional. Con ello se demuestra que la prostituta no es un ser inerte, sino que activamente trabaja en su profesión y construye una identidad apropiada para la simulación necesaria para atender clientes y moverse fuera del burdel. Se pretende explorar una metodología que acude al enfoque dramatúrgico emocional, poco presente en la literatura sociológica y con ello se busca aportar a la sociología de las emociones con categorías de gestión emocional provenientes de la actuación teatral naturalista.

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Goryunova, Irina E. "The Theme of Holocaust in the Visual Arts: To the Problem of Archetypes and Stereotypes of National Cultures." Observatory of Culture, no. 1 (February 28, 2015): 35–40. http://dx.doi.org/10.25281/2072-3156-2015-0-1-35-40.

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Examines reflections of the artists on the historical phenomenon, compares them to the universal human approaches and traces transformations of this phenomenon into the “given circumstances” (Konstantin Stanislavsky) in the course of artistic work. The author addresses the Russian national cinematography and argues that it may pretend on the leading position in representing the theme under examination. The Russian films reveal particular aesthetic and ideological paradigms, general cultural patterns, relationships, and positions related to the topic which are not that apparent in other arts, for example, in drama, music or literature. The author believes that all these principles eventually allow drawing conclusions on and proposing principles of ethnic cultural theory of film art which may be interpreted as a visual representation of the deeper archetypes and stereotypes of national cultures analysis of the Holocaust theme in mass shows. The cultural and the general creative principles and techniques of mass musical show productions are also examined.

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Antoniou, Michaela. "Konstantin Stanislavski and his “system” as inspiration and guide for Karolos Koun’s Theatro Technis [Arts Theatre] of Athens." Stanislavski Studies 6, no. 2 (July 3, 2018): 125–37. http://dx.doi.org/10.1080/20567790.2018.1501855.

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Shevtsova, Maria. "My Life in Art. By Konstantin Stanislavski. Translated and edited by Jean Benedetti. London: Routledge, 2008; 452 pp.; illustrations. $39.95 cloth. An Actor's Work. By Konstantin Stanislavski. Translated and edited by Jean Benedetti. London: Routledge, 2008; 693 pp. $35.00 cloth." TDR/The Drama Review 54, no. 1 (March 2010): 172–74. http://dx.doi.org/10.1162/dram.2010.54.1.172.

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White, R. Andrew. "Stanislavsky and Ramacharaka: The Influence of Yoga and Turn-of-the-Century Occultism on the System." Theatre Survey 47, no. 1 (April 13, 2006): 73–92. http://dx.doi.org/10.1017/s0040557406000068.

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Fin-de-siècle Russia was a culture replete with interest in the occult, spiritualism, and the religions of the Far East. Curiosity about the mystical infused all tiers of society. Among those influenced by the spiritual was none other than Konstantin Stanislavsky himself, who experienced a personal crisis in which he began to doubt his own ability as an actor. In 1906, he took his now-famous trip to Finland, where he sequestered himself for the summer, examined his artistic life, and began to reconsider seriously his process as an actor. While reflecting on his past artistic work, he began to organize years of notes on acting; and several notions drawn from Eastern mysticism in general and Yoga in particular found their way into his “system.” Although a handful of articles that examine Stanislavsky's use of Yoga have been published in the West, over the past century scholars and teachers have paid little attention to the spiritual facets of Stanislavsky's thinking, focusing instead on the psychological aspects of his work. Given, however, the presence of important Yogic elements in the system at its very inception, a full understanding of Stanislavsky's technique is impossible without knowledge of the intersections between his system and Yoga. Borrowing from Yoga, Stanislavsky offers actors much more than theories about how to be more believable or psychologically realistic in their roles. He adapts specific Yogic exercises in order to help actors transcend the limitations of the physical senses and tap into higher levels of creative consciousness.

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Eikel-Pohen, Mona. "Presenting as Performance: Painless Practices for Presentation in Foreign Languages." Scenario: A Journal of Performative Teaching, Learning, Research XI, no. 1 (January 1, 2017): 17–32. http://dx.doi.org/10.33178/scenario.11.1.4.

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Presenting is a complex task for language learners. It requires them to acquire and read material, extract main points and express them in their own words in the target language, listen to other presenters and react appropriately with good questions and comments – and, of course, speak out loud while presenting. Language learners activate all these skills on a daily basis in the language classroom. However, speaking out loud in front of a group about one specific topic for an extended period of time is usually not part of the daily routine and therefore demands special attention, care, and action. This article models a sequence for preparing, planning, practicing, delivering, and evaluating presentations and briefly discusses the role of visual slides, but focuses on speaking exercises and explains how they strengthen the presenters both as language learners and as performers. Two theater theories form the backbone to these exercises: Konstantin Stanislavski’s “system”, and Keith Johnstone’s improvisation theater concept of status.The article describes each step of a practice sequence, including warm-up exercises, prompts for constructive peer feedback, and rubrics for (self-)evaluation, and reflects on the overall benefits of their inclusion in the language classroom.

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Harrison, Susan-Jane. "Introducing the Inhabiting Technique; highlighting the value of psychophysical processes originated by Konstantin Stanislavski, while showing that most aspects of Stanislavski’s System of Active Analysis are inappropriate for use with Shakespeare; inviting the actor into the role of Psychopomp." Stanislavski Studies 7, no. 1 (January 2, 2019): 71–85. http://dx.doi.org/10.1080/20567790.2019.1576111.

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Hoover, Marjorie L. "Selected Works. By Konstantin Stanislavskii. Compiled by Oksana Korneva. Moscow: Raduga, 1984. 309 pp. Plates. $9.95, cloth. Distributed by Imported Publications, Inc., Chicago, III." Slavic Review 45, no. 3 (1986): 593–94. http://dx.doi.org/10.2307/2499101.

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McGillivray, Glen. "“Suiting Forms to Their Conceit”: Emotion and Convention in Eighteenth-Century Tragic Acting." Theatre Survey 59, no. 2 (April 25, 2018): 169–89. http://dx.doi.org/10.1017/s0040557418000054.

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When Horace wrote in Ars Poetica, “If you would have me weep, you must first feel grief yourself” (“Si vis me flere dolendum est primum ipsi tibi”), he expressed the ancient world's view that, in order to emotionally affect his audience, an orator needed to feel the emotion himself. This idea was widely subscribed to in the eighteenth century. In the modern era Konstantin Stanislavsky engaged in a sustained investigation of emotion and acting, stressing that the actor needed to experience “real feeling” in order for the audience to experience authentic emotions also. As a theory of emotional transmission, it seems like common sense. Yet, when Denis Diderot witnessed in Baron d'Holbach's salon David Garrick's parlor trick of sticking his head out between two screens, and cycling through a range of passions with his face, the great philosophe wondered whether the actor felt anything at all even though his audience, including Baron Grimm, evidently did. “Can his soul have experienced all these feelings, and played this kind of scale in concert with his face?” Diderot asked, and then answered, “I don't believe it; nor do you.” By deciding in the negative, that Garrick could not have felt anything, Diderot reveals a common fallacy of the audience: the belief that what an audience feels reflects, and is a result of, what an actor feels. The problem for Diderot, which he addressed in the Paradox of Acting (1773), was how an actor such as Garrick managed to evoke emotions in his audience when he apparently felt nothing himself.

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Volkova, Viktoria. "Konstantin Stanislavski on the professional and ethical education of the film actor: based on the silent films of Boris Sushkevich, Yakov Protazanov, Aleksander Sanin, and Yuri Zhelyabuzhski." Stanislavski Studies 9, no. 1 (January 2, 2021): 91–108. http://dx.doi.org/10.1080/20567790.2021.1878660.

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Stanciu, Carmen. "Teatro baseado em imagem: uma nova pedagogia para um teatro “novo”." Móin-Móin - Revista de Estudos sobre Teatro de Formas Animadas 2, no. 21 (December 20, 2019): 178–92. http://dx.doi.org/10.5965/2595034702212019178.

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Esse artigo captura a apresentação, discussões e diálogo interativo da conferência A função teatral da imagem e sua relação com os outros elementos da encenação. A ideia principal da conferência é que hoje em dia o contexto das artes performáticas pede reconsideração do método pedagógico da profissão de diretor teatral. Eu vou lembrar como o “trabalho” de diretor teatral emergiu no século XIX como um resultado lógico da industrialização. Trazer luz elétrica aos auditórios de teatro, construir grandes teatros com longos palcos, o apetite do público por encenações elaboradas e realistas usando modelos #D e maquinário complicado – tudo isso impôs a necessidade de um homem que tem ou desenvolve habilidades e knowhow de encenar. E foi assim que a história do teatro mundial foi reescrita no século XX – O Século do Diretor. Além disso, as duas pessoas mais influentes do teatro do último século foram ambos diretores e professores: Konstantin Stanislavsky e Bertolt Brecht. Mas e sobre nosso século XXI? O teatro ainda é um playground para os diretores? Minha teoria é que as artes performáticas hoje estão apagando os padrões “tradicionais” dos precursores do teatro sob a pressão do novo papel que o teatro é exigido a performar na sociedade. O teatro do Era Digital precisa ter a mesma estrutura “pixelada” que todas as outras criações humanas. Esse é o porquê eu acredito fortemente que a pedagogia do teatro deve ser reconsiderada e reorganizada tendo como sua ideia central a dicotomia entre a estrutura dramática e pós-dramática da peça. Afinal, como Peter Brook disse, “uma peça é uma peça”. Como suporte para demonstração e discussões, usarei a teoria de Meyerhold sobre como construir uma performance, o diagrama de Schlemmer sobre tipos de performances, as observações de Brecht sobre teatro dramático versus teatro épico, a teoria de Lehmann sobre teatro pós-dramático e os argumentos de Erika Fischer-Lichte sobre estéticas transformadoras. Usarei imagens de shows encenados por diretores de teatro de destaque, que marcaram ou marcam como fazemos e vemos o teatro hoje.

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Deeney, John F. "Michael Chekhov. By Franc Chamberlain. London: Routledge, 2004. Pp xii + 152 + illus. £9.99 Pb. Konstantin Stanislavsky. By Bella Merlin. London: Routledge, 2003. Pp xii + 171 + illus. £9.99 Pb. Jacques Lecoq. By Simon Murray. London: Routledge, 2003. Pp xiv + 180 + illus. £9.99 Pb. Vsevolod Meyerhold. By Jonathan Pitches. London: Routledge, 2003. Pp xi + 162 + illus. £9.99 Pb." Theatre Research International 29, no. 2 (July 2004): 187–89. http://dx.doi.org/10.1017/s0307883304230607.

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"My life in art: Konstantin Stanislavski." Choice Reviews Online 45, no. 12 (August 1, 2008): 45–6662. http://dx.doi.org/10.5860/choice.45-6662.

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Rodríguez, Bárbara Caffarel. "Del sistema de Stanislavki al método Strasberg: aproximaciones teóricas, análisis y críticas a ambos sistemas." AVANCA | CINEMA, May 9, 2020. http://dx.doi.org/10.37390/ac.v0i0.29.

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Konstantin Stanislavski, Russian actor and director, creator of an acting system (The System) for the Moscow Art Theater established this method to get their actors to play roles, to create characters through natural means and embody them in the stage in an artistic way. His experience as an actor and the notes of his teachers helped him to develop a manual which remains valid nowdays.Taking Stanislavski as basis, Strasberg, the American theater director of Polish origin, created what is known as the Method, the basis of the well-known Actor’s Studio. Despite being one of the most studied and effective methods, it is sometimes rejected and criticized.In this article, we propose to explain the Stanislavski system, its evolution to the Strasberg method, and the criticisms that both awaken, using a descriptive methodology, based on the investigations established by Jorge Eines or María Ósipovna Knébel, among others. The objective of this research is to create a theoretical approach that will serve for future lines of investigation of both methods and analyze and ground the criticisms of both systems.

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Evangelatou, Aphrodite. "Konstantin Stanislavski and Michael Chekhov: tracing the two practitioners’ “lures” for emotional activation." Stanislavski Studies, June 22, 2020, 1–19. http://dx.doi.org/10.1080/20567790.2020.1772550.

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Davidson, Andrew. "Konstantin Stanislavski and Emile Jaques-Dalcroze: historical and pedagogical connections between actor training and music education." Stanislavski Studies, June 28, 2021, 1–19. http://dx.doi.org/10.1080/20567790.2021.1945811.

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