Academic literature on the topic 'Method acting'

This research explores possible applications in choral rehearsals of techniques, methods, and theories of acting that were established by Russian actor, director, theoretician, and pedagogue Constantin Stanislavski (1863-1938). The parallel between the dramatic art and the art of choral music focuses on the discussion of the Stanislavski ‘system’ as described in detail in his ‘Acting Trilogy’ and other critical literature as well as on the use of psycho-technique by Romanian conductor Marin Constantin (b. 1925) and his Madrigal Choir of Bucharest. The introductory chapter presents the premises of this parallel and the complexity of Stanislavski’s artistic personality, his pivotal role in the history of theater and performing arts. The second chapter reviews existing literature that is pertinent to the topic, explaining all the elements of Stanislavski’s acting theory; this process divides the sources into three categories, namely the body of English translations of Stanislavski’s writings, the authoritative source materials that clarify and confirm the practicality of the ‘system,’ and the references on the use of psycho-technique in choral practice. The third chapter describes possible usage of key artistic elements, principles, and techniques of the acting ‘system’ in choral rehearsals, including concepts such as creative mood, concentration of attention, imagination, given circumstances, ‘magic If,’ inner motive forces, action (as in singing and conducting gestures), units (bits) and objectives (tasks), relaxation of muscles, ensemble work, communion, emotion memory, tempo-rhythm, active analysis, through line of action, and super-objective. The fourth chapter explores concrete applications of psycho-technical elements made by this researcher in a practical study with two student ensembles. Limitations and special circumstances about this collaboration are indicated. The rehearsal process is described in detail and focuses on the work on three choral pieces, namely Kasar mie la gaji by Venezuelan composer Alberto Grau (b. 1937), If Music Be the Food of Love by David C. Dickau (b. 1953), and There Will Be Rest by Franck Ticheli (b. 1958) on a poem by Sara Teasdale (1884-1933). The findings of this research, summarized in the final chapter, reflect not only the possibility of using elements of the Stanislavski ‘system’ of acting in choral rehearsals, but also the necessity to employ psycho-technique in choral practice; the results also recommend further applications of the ‘system’ in areas of formation of individual choristers as true artists, of building ensemble unity of expression of emotions, and of developing an effective and meaningful vocabulary of conducting gestures.<br>School of Music

Abstract INTEGRATING THE FELDENKRAIS METHOD INTO THE VOICE AND SPEECH CLASSROOM: INTERTWINING LINKLATER VOICE AND THE FELDENKRAIS METHOD By Janel R. Miley Knipple, MFA A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2018. Major Director: Karen Kopryanski, Head of Voice and Speech, Assistant Professor Department of Theatre Proprioception and kinesthetic awareness are important factors in actor training as performers strive to increase their physical and vocal prowess in order to respond to the demands of roles. The Feldenkrais Method, a somatic approach to learning that promotes greater awareness, has been utilized in actor training for decades; however, the historical details, measurable impact, and benefits of the Feldenkrais Method in this field have been largely undocumented. In this thesis, I will examine the history of the Feldenkrais Method, particularly considering interactions between theatre artists and Feldenkrais. In addition, I will suggest new possibilities for creating a voice and speech curriculum that integrates the Feldenkrais Method, providing both historical precedents and current findings to support the efficacy of incorporating the Feldenkrais Method into actor voice and speech training. Referencing experiences of how the Feldenkrais Method and the Linklater Progression have worked together to improve my own acting and teaching, I will conclude with a strategy on incorporating the Feldenkrais Method into voice and speech training.