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Relevant bibliographies by topics / Metodo Stanislavskij

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Academic literature on the topic 'Metodo Stanislavskij'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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Journal articles on the topic "Metodo Stanislavskij"

1

Marciano, Roci. "Pengembangan Teknik Peran Seorang Aktor Untuk Pementasan Monolog Melalui Sistem Stanislavski dalam Buku an Actor Prepares and Building a Character." JURNAL SATWIKA 3, no. 1 (2019): 69. http://dx.doi.org/10.22219/js.v3i1.8683.

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Tujuan penelitian Teknik Peran Seorang Aktor Untuk Pementasan Monolog Melalui Sistem Stanislavski An Actor Preapares And Building A Character ini dilakukan ialah, untuk mengembangkan model pembelajaran pada mata kuliah Totalitas Keaktoran yang ditempuh oleh mahasiswa semester lima. Pengembangan Teknik Peran Seorang Aktor Untuk Pementasan Monolog Melalui Metode Stanislavski An Actor Preapers And Building A Character penting untuk di pelajari saat ini. Karena penelitian memberikan dampak positif bagi seorang mahasiswa khususnya dan masyarakat luas pada umumnya yang mengambil minat keaktoran. Kecerdasan yang bisa dipelajari dalam belajar monolog tentu saja bukan hanya demi keberanian seorang aktor tampil sendirian di atas panggung dengan menyampaikan kisah atau cerita. Tetapi nilai yang paling berharga dari penemuan teknik peran ini adalah, seorang aktor bisa memulai pelatihannya dengan tersistem, teratur dan terprogram. Karena monolog juga memiliki dampak yang positif untuk dipelajari, seperti sebagai mahasiswa atau manusia mampu menghapalkan hasil pemikiran seorang penulis naskah, merespon segala tatanan artistik dengan kecerdasan lahiriah dan batiniah sebagai perangkat keaktoran untuk disampaikan kepada penonton. Oleh sebab itu teknik-teknik dalam pelatihan seorang aktor untuk mewujudkan pementasan monolog dan monodrama tentu saja dibutuhkan, sehingga penelitian ini akan berguna bagi mahasiswa STKW Surabaya khususnya, dan seluruh mahasiswa teater yang ingin pentas monolog pada umumnya.

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2

Marciano, Roci. "Pengembangan Teknik Peran Seorang Aktor Untuk Pementasan Monolog Melalui Sistem Stanislavski dalam Buku an Actor Prepares and Building a Character." JURNAL SATWIKA 3, no. 1 (2019): 69. http://dx.doi.org/10.22219/satwika.vol3.no1.69-86.

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Tujuan penelitian Teknik Peran Seorang Aktor Untuk Pementasan Monolog Melalui Sistem Stanislavski An Actor Preapares And Building A Character ini dilakukan ialah, untuk mengembangkan model pembelajaran pada mata kuliah Totalitas Keaktoran yang ditempuh oleh mahasiswa semester lima. Pengembangan Teknik Peran Seorang Aktor Untuk Pementasan Monolog Melalui Metode Stanislavski An Actor Preapers And Building A Character penting untuk di pelajari saat ini. Karena penelitian memberikan dampak positif bagi seorang mahasiswa khususnya dan masyarakat luas pada umumnya yang mengambil minat keaktoran. Kecerdasan yang bisa dipelajari dalam belajar monolog tentu saja bukan hanya demi keberanian seorang aktor tampil sendirian di atas panggung dengan menyampaikan kisah atau cerita. Tetapi nilai yang paling berharga dari penemuan teknik peran ini adalah, seorang aktor bisa memulai pelatihannya dengan tersistem, teratur dan terprogram. Karena monolog juga memiliki dampak yang positif untuk dipelajari, seperti sebagai mahasiswa atau manusia mampu menghapalkan hasil pemikiran seorang penulis naskah, merespon segala tatanan artistik dengan kecerdasan lahiriah dan batiniah sebagai perangkat keaktoran untuk disampaikan kepada penonton. Oleh sebab itu teknik-teknik dalam pelatihan seorang aktor untuk mewujudkan pementasan monolog dan monodrama tentu saja dibutuhkan, sehingga penelitian ini akan berguna bagi mahasiswa STKW Surabaya khususnya, dan seluruh mahasiswa teater yang ingin pentas monolog pada umumnya.

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3

Marciano, Roci. "Pengembangan Teknik Peran Seorang Aktor Untuk Pementasan Monolog Melalui Sistem Stanislavski dalam Buku an Actor Prepares and Building a Character." Satwika : Kajian Ilmu Budaya dan Perubahan Sosial 3, no. 1 (2019): 69–86. http://dx.doi.org/10.22219/satwika.v3i1.8683.

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Tujuan penelitian Teknik Peran Seorang Aktor Untuk Pementasan Monolog Melalui Sistem Stanislavski An Actor Preapares And Building A Character ini dilakukan ialah, untuk mengembangkan model pembelajaran pada mata kuliah Totalitas Keaktoran yang ditempuh oleh mahasiswa semester lima. Pengembangan Teknik Peran Seorang Aktor Untuk Pementasan Monolog Melalui Metode Stanislavski An Actor Preapers And Building A Character penting untuk di pelajari saat ini. Karena penelitian memberikan dampak positif bagi seorang mahasiswa khususnya dan masyarakat luas pada umumnya yang mengambil minat keaktoran. Kecerdasan yang bisa dipelajari dalam belajar monolog tentu saja bukan hanya demi keberanian seorang aktor tampil sendirian di atas panggung dengan menyampaikan kisah atau cerita. Tetapi nilai yang paling berharga dari penemuan teknik peran ini adalah, seorang aktor bisa memulai pelatihannya dengan tersistem, teratur dan terprogram. Karena monolog juga memiliki dampak yang positif untuk dipelajari, seperti sebagai mahasiswa atau manusia mampu menghapalkan hasil pemikiran seorang penulis naskah, merespon segala tatanan artistik dengan kecerdasan lahiriah dan batiniah sebagai perangkat keaktoran untuk disampaikan kepada penonton. Oleh sebab itu teknik-teknik dalam pelatihan seorang aktor untuk mewujudkan pementasan monolog dan monodrama tentu saja dibutuhkan, sehingga penelitian ini akan berguna bagi mahasiswa STKW Surabaya khususnya, dan seluruh mahasiswa teater yang ingin pentas monolog pada umumnya.

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4

Gospić Županović, Ana. "Naslijeđe Stanislavskog u radu Grotowskog: o značenju metode fizičkih radnji." [sic] - a journal of literature, culture and literary translation, no. 1.7 (January 1, 2017). http://dx.doi.org/10.15291/sic/1.7.lc.5.

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5

Hari Wibowo, Philipus Nugroho. "Ande-Ande Lumut: Adaptasi Folklor ke Teater Epik Brecht." Resital: Jurnal Seni Pertunjukan 13, no. 1 (2013). http://dx.doi.org/10.24821/resital.v13i1.502.

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Karya ini mengadaptasi folklor “Ande-Ande Lumut” sebagai ide dasar penciptaannya. Folklor ini dituangkan dalam pementasan teater berjudul “Kemuning”. Folklor “Ande-Ande Lumut” merupakan turunan dari cerita Panji yang menceritakan pengembaraan Raden Panji mencari Putri Candrakirana. Cerita Panji tidak hanya dikenal di Indonesia, tetapi dikenal hingga Asia Tenggara dan Jepang. Perkembangan teori adaptasi begitu pesat, apapun kini bisa dijadikan obyek adaptasi, puisi, novel, drama panggung, lukisan, tarian, dan video games. “Kemuning” ini dikemas dengan konsep pemanggungan teater epik Brecht. Hal ini merupakan suatu upaya mencari bentuk baru (pembacaan) dalam cerita “Ande-Ande Lumut”. Teater Epik menolak salah satu unsur utama dari drama Aristotelesyang telah dikembangkan dengan metode Stanislavsky, yaitu harus adanya empati (rasa ikut mengalami) dalam sebuah pementasan. Menurut Brecht proses ini telah menyebabkan suatu akibat yang mestinya dihindari, karena mengakibatkan sikap pasif dalam diri penonton. Maka ia membuat teori tentang menghancurkan ilusi, cara interupsi, dan tetap mengontrol emosi. Brecht identik dengan tema-tema sosial dalam karyanya. khususnya tema yang mengangkat nasib orang kecil yang harus menderita karena kebijakan penguasa. Biasanya kisahnya seputar persoalan buruh dan majikan. Pementasan “Kemuning” ini mengangkat kehidupan para pelacur yang masih identik dengan hal-hal negatif. Padahal mereka dibutuhkan dalam masyarakat. Tapi kadang kala mereka menjadi kambing hitam yang harus selalu disalahkan. Secara tersirat pementasan ini bertujuan memperjuangkan kehidupan para pelacur. Penonton diajak melihat sudut pandang yang lain tentang kehidupan pelacur yang selama ini dianggap buruk oleh masyarakat. Menurut Brecht teater yang baik dan yang dituntut dalam jaman moderen adalah teateryang dapat menggugah aktifi tas berfi kir yang kritis pada diri penonton. Maka pentas ini diharapkan mendorong para penikmat seni untuk melahirkan penafsiran yang penuh dengan kesadaran terhadap lingkungan sosial dan bisamenimbulkan suatu gerakan atau perubahan pada masyarakat.Kata kunci: Folklor, Ande-Ande Lumut, Adaptasi, dan Teater Epik BrechtABSTRACTAnde-Ande Lumut: The Adaptation of Folklore to the Epic Theater of Brecht. This theatrical work is adaptedfrom a popular folklore entitled Ande-Ande Lumut that is as a basic idea of its work. This folklore is performed in theatricalperformance entitled Kemuning. Ande-Ande Lumut is a story derived from the story of Panji which tells us about PrincePanji’s journey to look for Princess Candrakirana. This story is not only popular in Indonesia but also in South East Asiaand Japan. The adaptation theory is developing well; everything can be used as an adaptation object, poems, novels, dramas, paintings, dances, and video games. Kemuning is performed by the performing concept of Brecht’s epic theater. However, this is an effort to fi nd out the new form of reading in Ande-Ande Lumut story. The epic theater against one of the main elements in Aristotle’s drama that has been developed by Stanislavsky’s method; there should be an empathy in every aspect of performance. According to Brecht, this process has caused an effect which should be avoided because it brings audience’s passive attitude. Therefore, he tried to make a theory of destroying the illusion, of interrupting method, and of controlling emotion. Brecht’s identical works focus on the social themes, especially on the themes that show the poor people who are suffering from the authority’s policy. The common problems between the master and its worker are refl ected on hisstory. The Kemuning performance has tried to show the prostitutes’ life that is closed to any negative things. In fact, they are still being needed by the society. Unfortunately, sometimes they become the source of scapegoats to any troubles and are always blamed to. Implicitly, this performance is aimed to fi ght for the prostitutes’ life. The audience is invited to see the other points of view about their life that are often regarded as negative by the people. Moreover, Brecht said that a good and demanded theater in this modern era is a theater that can arouse the audience’s critical thinking activities. Therefore, this performance is supposed to be able to motivate the arts lovers in producing a critical analysis to any social awareness and in creating a new movement to any signifi cant changes in society.Keywords: Folklore, Ande-Ande Lumut, Adaptation, and Brecht’ Epic Theater

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Dissertations / Theses on the topic "Metodo Stanislavskij"

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Spadoni, Giorgia. "Il sistema Stanislavskij da dietro le quinte. Il concetto di "subconscio" ne "Il lavoro dell'attore su se stesso"." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018.

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Ne "Il lavoro dell'attore su se stesso" il termine "subconscio" (in russo "podsoznanie") ricorre in qualità di sostantivo, avverbio, e nelle sue diverse forme aggettivali oltre un centinaio di volte. Stanislavskij ha infatti preso in prestito uno dei concetti fondamentali della psicoanalisi per metterlo alla base del suo celebre "metodo". La questione su quale sia il rapporto tra il padre del Teatro d'Arte di Mosca e la "scienza freudiana" sorge dunque spontanea; nonostante ciò a tutt'oggi gli studiosi non hanno ancora saputo dare una risposta esauriente a questo interrogativo. Il presente elaborato si pone l'obiettivo di far luce su questo aspetto teorico innovativo del sistema Stanislavskij, ancora poco indagato, attraverso un'analisi dettagliata e documentata.

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2

Minut, Bogdan A. "Applying Constantin Stanislavski's acting system to choral rehearsals." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1536752.

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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

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3

Van, Heerden Emerentia Eletitia. "Tracing the impact of Stanislavski's system on Strasberg's method." Thesis, Link to the online version, 2007. http://hdl.handle.net/10019/723.

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Inouye, Kevin. "Method in Motion: Grounding a Movement Pedagogy in the Lessons of Stanislavski." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2690.

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This thesis is an exploration of movement pedagogy as a continuation of basic acting lessons from Stanislavski. Using the example of an introductory semester of movement instruction, physical acting and movement concepts are explained in terms of their connection to and derivation from universally accepted acting terminology and ideas. This is put forth as a way to facilitate the synthesis of movement instruction with other acting curriculum, as well as providing a new way to view some familiar acting concepts. Several specific examples are explored in more depth as case studies in physical equivalents to the intellectual, visual, or emotional techniques familiar to all with a basic knowledge of Stanislavski based acting principles.

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Hamner, Matthew. "THE LARAMIE PROJECT: THE SEARCH FOR A PERSONAL ACTING METHOD VIA THE PRINCIPLES OF CONSTANTIN STANISLAVKSI." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3796.

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Constantin Stanislavski developed a method for actors in bringing to life characters for the stage. Even though Stanislavski developed his theories in response to the stage climate of the late nineteenth and early twentieth centuries, many of his ideas remain relevant today. In this study, parts of his system were applied to the roles performed in Moisés Kaufman's The Laramie Project. Those roles were Moisés Kaufman, Jonas Slonaker, Doug Laws, Anonymous, Detective Rob Debree, Governor Jim Geringer, Reverend Fred Phelps and Dennis Shepard. The purpose of this exploration was to create unique, believable characters and develop solutions for personal acting problems. Through this study, it was concluded that this method empowered me as I sought ways to personalize with the reality of the characters.<br>M.F.A.<br>Arts and Sciences<br>Theatre

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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.<br>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.

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Roberts, Jhanneu. "The True Cost of Our Entertainment: An Inside Look to Modern Method Acting and its Consequences." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1322.

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This goal of this thesis is to examine the physical and emotional cost associated with modern and personal interpretations of Strasberg-based method acting. Although many method actors have created excellent award-winning performances, many were left with emotional and physical harm to their body. In this thesis I will argue that there are actors that can deal with the after effects however, the risks associated with Strasberg-based method often pose both mental and physical health risks to the actor that outweigh the benefit they contribute to the production. To understand what Strasberg-based method acting is I will examine the practices of Stanislavski, the founder of the original “method,” and teacher and actors Stella Adler and Sanford Meisner, and their methods to creating a character. Strasberg, Adler, and Meisner, who are believed to have created their methods based off the Stanislavski Acting System, had many disagreements about Stanislavski’s method. What many now call method acting, incorporates certain techniques created by Stanislavski that actors then use to create their own method.

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Santiago, Marco. "THE CHORUS: A LINE TO CROSS." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3633.

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ABSTRACT This thesis project will provide an in depth examination into the musical theater role of Paul, the male Puerto Rican dancer in A Chorus Line, as performed by Marco Antonio Santiago. The performance will take place at Cohoes Musical Theater in Albany, New York. This examination will reveal how the application of Stanislavski's methods on acting and his views in preparing a character can be used on musical theatre roles to achieve well rounded, fully developed and completely believable characters. The thesis will contain a structural analysis of the script, scene and role analysis, a performance journal to log the growth/challenges of each role, and other vital information charting the application of Stanislavski's methods on acting. In addition to Stanislavski's methods other well known acting teachers and their methods such as Richard Boleslavski and Sanford Meisner, will be viewed and applied throughout the process. Furthermore, a performance critique/analysis will be provided by Lani Harris, Tan Huaixiang, and Nicholas Wuehrmann, who serve as the acting committee members for this thesis project. The role of Paul helps propel the action of the play forward allowing the audience to truly realize the themes provided by the playwright, lyricist, and composer. This thesis project will reveal that an actor's training can be applied in almost any venue of theatre in some form or fashion and successfully make a well-rounded character.<br>M.F.A.<br>Department of Theatre<br>Arts and Humanities<br>Theatre

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Hardcastle, Terry. "CONSIDERING STRASBERG’S METHOD IN THE TWENTY-FIRST CENTURY: A NEW PEDAGOGY." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/2992.

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Student of Richard Boleslavsky and Maria Ouspenskaya, co-founder of the Group Theatre, Artistic Director of the Actors Studio, founder of the Lee Strasberg Theatre and Film Institute, and developer of The Method, Lee Strasberg is one of the most famous acting teachers of the twentieth century. In the same way a concert pianist must practice her scales daily to maintain expertise, Strasberg believed an actor must regularly practice the use of sense memory to be emotionally authentic. Using Strasberg’s Method, this is achieved through a combination of relaxation and concentration, which leads to a sense of truth in performance. The Method, a praxis built on Stanislavski’s own approach to actor training, since the death of its founder has slacked off in popularity. This is noteworthy for the gold standard status the Method once held in the United States. More easily accessible, less process oriented, more demonstrably obvious and observable techniques such as the work of Michael Chekhov have taken stronger hold in some academic circles. Empirical evidence seems to suggest that a mixture of prejudice for the Method and possible personal dislike for Strasberg the man has made this so. Curious to discover if the Method still held value for the next generation, I committed to teaching a Method class to Virginia Commonwealth University undergraduates. Drawing on my experience at the Strasberg Institute studying under Anna Strasberg, Geoffrey Horne, my practical experiences on stage, and research available after Strasberg’s death, I created my own approach to The Method. Through analysis of my students’ Method acting work and my own teaching, I intended to learn the efficacy and practicality of Strasberg’s Method as we begin the twenty-first century: what we can keep, what we must let go, and what we can change for the better.

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Ferreira, de Mendonça Guilherme Abel. "Acting theory as poetic of drama : a study of the emergence of the concept of 'motivated action' in playwriting theory." Thesis, Brunel University, 2012. http://bura.brunel.ac.uk/handle/2438/7331.

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Playwriting theory has, from its beginning, been concerned with the search for the essential nature of dramatic writing. Early playwriting treatises (poetics) defined the essential aspects of drama as being the plot (creation of sequences of fictional events), the moral character of its heroes, the idea of enactment, or the rhetorical and lyrical qualities of the text. These categories were kept through later treatises with different emphasis being put on each category. An understanding of drama as a sequence of fictional events (plot) has been central in acting theory. Modern theories and techniques centred on Stanislavsky’s ideas rely heavily on rehearsal methods that carefully establish the sequence of actions of the characters in a play as a result of psychological motivations. This method was described by Stanislavsky in An Actor’s Work on a Role, published in 1938, and is known as the Method of Physical Actions. This thesis reassesses the definition of playwriting as consisting essentially in the creation of a plot populated by suitable characters. Rather than discussing playwriting theory in isolation it attempts a bridge between acting theory and playwriting theory by using the Method of Physical Actions as an equivalent to plot. Acting theory is thus considered as a theoretical justification for the centrality of plot. The method used is hermeneutic — a systematic interpretation of poetics, unveiling in almost an archaeological manner the relevance of the essential definitions of drama, such as character, source, genre, and language to the concept of plot. The chronological path of development of dramatic theories is shown to be gradual: from the strict obedience to the narrative line imposed by the mythic sources, in classical treatises; through to an interest in the lyrical expression of the predicament of specific characters, in neoclassical theory; to an awareness of specific social types in the eighteenth century; and, finally, to the conception of the plot as a product of the mental life of individual characters in modern theory.

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Books on the topic "Metodo Stanislavskij"

1

Malcovati, Fausto. Stanislavskij: Vita, opere e metodo. Laterza, 1988.

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Stanislavski. Routledge, 1988.

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Benedetti, Jean. Stanislavski. Methuen, 1988.

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Hovhannisyan, H. V. Stanislavsku "sistemě" ev khaghi paradokʻsě: "Stanislavski sistem" and paradox of acting = "Sistema" Stanislavskogo i paradoks igry. "Gitutʻyun" hratarakchʻutʻyun, 2012.

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Benedetti, Jean. Stanislavski: An introduction. 2nd ed. Methuen, 1989.

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Stanislavski: An introduction. Routledge, 2004.

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Benedetti, Jean. Stanislavski: An introduction. 3rd ed. Methuen, 2000.

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Stanislavski: A biography. Routledge, 1988.

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Stanislavski and the actor. Routledge/Theatre Arts Books, 1998.

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Stanislavski and the actor. Methuen Drama, 1998.

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Book chapters on the topic "Metodo Stanislavskij"

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Whitfield, Petronilla. "A Trial of the Physical Actions Method Inspired by Stanislavski." In Teaching Strategies for Neurodiversity and Dyslexia in Actor Training. Routledge, 2019. http://dx.doi.org/10.4324/9780429458590-10.

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"THE METHOD OF PHYSICAL ACTION." In Stanislavski. Routledge, 2005. http://dx.doi.org/10.4324/9780203998182-10.

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"Stanislavski’s Method." In Tools for Complex Projects. Routledge, 2016. http://dx.doi.org/10.4324/9781315550831-27.

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"Myths, Methods, Systems, Superstitions." In Beyond Stanislavsky. Routledge, 2014. http://dx.doi.org/10.4324/9781315059839-7.

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"Part Three The Method of Physical Action in Rehearsal." In Stanislavski and the Actor. Routledge, 2013. http://dx.doi.org/10.4324/9780203821534-19.

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"Part One An Outline of the Method of Physical Action." In Stanislavski and the Actor. Routledge, 2013. http://dx.doi.org/10.4324/9780203821534-8.

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"The journey of the Moscow Art Theatre and its disciples through Europe and the United States (1906–1937): Dissemination of an acting theory and work method." In The Routledge Companion to Stanislavsky. Routledge, 2013. http://dx.doi.org/10.4324/9780203112304-22.

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Grobe, Christopher. "The Breath of a Poem." In Art of Confession. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9781479829170.003.0003.

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Today, we may know confessional poetry as a set of texts that are printed in books, but in its time it was also a performance genre. This chapter demonstrates how the performance of poems—in the privacy of the poet’s study, at public poetry readings, and in the studios of recorded literature companies—shaped this genre, determined its tactics, and influenced its style. An extended comparison of Robert Lowell and Allen Ginsberg shows that breath was a key medium for confessional poets, and a study of Anne Sexton’s career—both on the page and at the podium—shows how she “breathed back” dead poems in live performance. Throughout, this chapter focuses on the feelings of embarrassment confessional poetry raised, and the uses to which poets could put such feelings. It also highlights contemporary trends in “performance” and their impact on confessional poets—e.g., Anne Sexton’s debt to the acting theories of Konstantin Stanislavsky and to Method acting as theorized by American director Lee Strasberg.

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Atkins, Joseph B. "Zelig in La La Land." In Harry Dean Stanton. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180106.003.0006.

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Harry Dean Stanton's career expanded over the next decade with multiple appearances on television and in films such as director Monte Hellman's Ride in the Whirlwind in 1966 and a year later Cool Hand Luke, which fixed his face, if not his name, in many moviegoers' minds. Between roles he hung out with fellow actors such as Jack Nicholson and Warren Oates at Schwab's Pharmacy and Chez Paulette. He and Nicholson even became housemates for a while and took acting lessons from blacklisted actor/teacher Jeff Corey and actor Martin Landau, both influenced by the Stanislavski-inspired Method school of acting eschewed at the more traditional Pasadena Playhouse. Harry Dean and his pals discussed philosophy and Beat poetry and became part of the hip set in Laurel Canyon. Meanwhile, back home, Ersel moved to Florida with her new husband, Stanley McKnight. She and her actor son stayed in touch but often through horrific fights over the phone. Stanley died at 51 the same year Cool Hand Luke came out. Harry Dean's father never remarried, worked his barbershop, and lived in a room behind it.

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"Reviews were often either antagonistic to this new form of theatre or baffled by it. In both cases it frequently resulted in dismissive reviews and a rejection of the playwright. Gradually, however, the tide of anti-Brecht feeling was beginning to turn and it was given a following wind when the Berliner Ensemble made their second visit to London in 1965. Ideas in the British theatre were on the move; the arts in general in the 1960s were in a time of change and expansion. Then the ‘politicisation’ of theatre in the post-1968 period, which led to the development of the ‘fringe’ theatre scene, provided a perfect context for the rehabilitation of Brecht. His plays – including their politics this time – were ideal material for that rather un-British event, the construction of an ‘alternative’ theatre discourse. As with so much that starts artistic life as ‘alternative’, Brecht’s plays were soon absorbed into the mainstream of British theatre, and less than a decade later his work featured in the programmes of even the most conservative of repertory theatres and was hailed as ‘classic’ by the British national companies. Brecht had been appropriated. But the problem with appro-priation, of course, is that its very purpose is to pull sharp teeth and nullify political bite. And Brecht’s political message would be sanitised for a British establishment’s flirtation with socialism. As British political theatre was itself eroded by the Thatcherite 1980s, Brecht’s status within British culture – never completely convincing – became unsure. In the 1990s, Britain blinks, uncertainly and with nostalgia, in a post-cold war, post-industrial and postmodern light. Not only are the political enemies no longer identifiable, authors, too, have gone largely the way of cultural relativism. Whether there will be a meaningful place and function again for Brecht in British theatre remains to be seen. The first chapter of this book considers the context and development of Brecht’s ideas and theories on theatre performance, focusing in particular on the differences and similarities between Brecht and the ‘naturalistic’ actor/director Constantin Stanislavski – ‘measuring the distance’ between them. It then considers Brecht’s choice of actors and his methods of working with them, and how these illuminate his theoretical ideas on performance. Material is drawn from published interviews with and performance reviews of key performers such as Helene Weigel, Ekkehard Schall, Angelika Hurwicz and Charles Laughton. In Chapter 2, the subject is the penetration of British theatre by Brecht material in the 1950s. The chapter explains how both early British productions of Brecht and new playwrights in Britain were influenced by the work of the Berliner Ensemble. Two tendencies are high-lighted: that of some practitioners to imitate the outward appearances of Berliner produc-tions, thus placing the emphasis on theatrical ‘style’ rather than process, and that of others to attempt to follow Brecht’s precepts for the rehearsal process in a context ill-suited to them." In Performing Brecht. Routledge, 2002. http://dx.doi.org/10.4324/9780203129838-11.

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