Relevant bibliographies by topics / Stanislavski

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Stanislavski'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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Journal articles on the topic "Stanislavski"

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Ganeva, Maria. "Abordări contemporane în pedagogia teatrală." Analele Universităţii „Dunărea de Jos” din Galaţi. Fascicula XXV,CercetARTE / The Annals of ”Dunarea de Jos” of Galati. Fascicle XXV, ARTSResearch 4 (April 5, 2022): 67–82. https://doi.org/10.35219/cercetarte.2020.06.

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Stanislavski's method is recognized as one of the most comprehensive and effective pedagogy of acting. In developing his method, Stanislavski used and adapted knowledge of psychology, a science that has greatly influenced the development of dramatic art in the twentieth century. This article draws attention to frequent mistakes and confusions in the application of the Stanislavskian method in contemporary pedagogy, especially in terms of understanding and mastering the psychotechnics of acting, one of the most important pedagogical tools used by Stanislavski.
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Schmitt, Natalie Crohn. "Stanislavski, Creativity, and the Unconscious." New Theatre Quarterly 2, no. 8 (1986): 345–51. http://dx.doi.org/10.1017/s0266464x00002359.

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As Alice Reyner's paper on Stanislavski and Bradley in NTQ 4 illustrated, Stanislavski remained very much a man of his own time, however enduring his approach to acting has proved. Here, Natalie Crohn Schmitt examines one of the concepts most crucial to ‘the system’ – a concept which is in its essentials, however, derived from nineteenth-century ideas, now being challenged, about the relationship between creativity and the unconscious. Pointing out that Stanislavski himself believed that his ‘system’ was simply the application of natural laws to acting technique, the author shows Stanislavski'
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Mumford, Meg. "Brecht Studies Stanislavski: Just a Tactical Move?" New Theatre Quarterly 11, no. 43 (1995): 241–58. http://dx.doi.org/10.1017/s0266464x0000912x.

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In the 'fifties Brecht undertook an examination of Stanislavski's theatre which in terms of breadth and intensity was unprecedented in his career – and rehearsal documentation from that period testifies that he incorporated some of Stanislavski's methods into the stage practice of the Berliner Ensemble. The seriousness of his study is attested by the organized collection of notes on the production of Katzgraben recently discovered in Elizabeth Hauptmann's estate. Brecht's preoccupation with Stanislavski at this time has been seen as an attempt to protect his theatre's existence in an environme
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Dicenzo, Maria, and Daniel Fischlin. "In Review: Stanislavski on Opera." Canadian Theatre Review 96 (September 1998): 87–88. http://dx.doi.org/10.3138/ctr.96.013.

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Stanislavski on Opera details the experience of Pavel Rumyantsev, an actor-singer/director who participated in most of the operatic productions to emerge from Stanislavski’s Opera Studio of the Bolshoi Theatre. The studio was founded in 1918 through the influence of E.K. Malinovskaya, manager of the State Theatres in Moscow, then later converted in 1924 into the Stanislavski Opera Studio and in 1926 into the Opera Studio-Theatre, ending up in 1928 as the Stanislavski Opera Theatre (the many names perhaps accounting, at least partially, for the students’ nickname for the studio: “School on the
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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 (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
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Santos, Alessandra Dutra dos. "Questão prática, resposta crítica: o metateatro de Sabina Berman." Aletria: Revista de Estudos de Literatura 7 (December 31, 2000): 137–46. http://dx.doi.org/10.17851/2317-2096.7..137-146.

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Resumo: Este artigo visa discutir os conflitos existentes entre teoria e prática teatral, utilizando como instrumentos dois monólogos da dramaturga mexicana Sabina Berman e o manual de preparação do ator de Stanislavski, buscando res­ gatar o diálogo existente entre os dois textos.Palavras-chave: teoria teatral; Sabina Berman; Stanislavski.Abstract: This article objectives to analyse the conflicts between theory and pratical theatre using two monologues of Mexican drama by Sabina Berman and the guide to ac tor preparation by Stanislavsky, trying to keep the existing dialogue in both.Keywords:
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., Gaurav, and Smriti Bhardwaj. "The Stanislavski System: A Psychophysical Acting Training Perspective." International Journal of Religion 5, no. 10 (2024): 3035–42. http://dx.doi.org/10.61707/x2wm2j08.

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Konstantin Stanislavski was a well-known actor and director who developed a system to train actors. Stanislavski emphasised on the significance of establishing a strong link between psychology and physicality in actor training and performance. It laid the groundwork for what later became to be known as the psychophysical approach. Stanislavski’s contributions to the art of acting were groundbreaking and he challenged conventional acting practices that relied solely on external gestures. He advocated for a more authentic and internally driven style of acting. He urged actors to delve deep into
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Phetruchee, Mananshaya, Sakgavin Siriwattanakula, and Phakamas Jirajarupat. "The Application of the Stanislavski System in Thai Court Drama Learning." International Journal of Education and Literacy Studies 12, no. 4 (2024): 208–20. https://doi.org/10.7575/aiac.ijels.v.12n.4p.208.

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Mixed-methods research is employed to investigate the implementation of the Stanislavski system in the study of Thai court drama. This study investigates the successful application of the Stanislavski method in Thai Court Theater, focusing on its role in enabling actors to portray emotions with accuracy and conviction. Research methods encompass activities including document and literature analysis, comprehensive interviews, observation of Thai Court Theater performances, data assessment, dissemination of academic findings, and clarification of results. The results illustrate that the utilizat
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Whyman, Rose. "The Actor's Second Nature: Stanislavski and William James." New Theatre Quarterly 23, no. 2 (2007): 115–23. http://dx.doi.org/10.1017/s0266464x07000024.

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This article considers the origins of Stanislavski's system and his insistence that the actor's skills, like the musician's, must be honed through daily exercises. Such practice must become the actor's ‘second nature’, as Stanislavski terms it. Rose Whyman here compares what Stanislavski has to say about skill acquisition with the psychologist William James's discussion of the role of habit in learning. This raises some problems in theorizing the system today, as it was rooted in the science of more than a century ago, when much less was known about the mechanisms of memory and learning. Rose
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Benedetti, Jean. "A History of Stanislavski in Translation." New Theatre Quarterly 6, no. 23 (1990): 266–78. http://dx.doi.org/10.1017/s0266464x00004577.

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Stanislavski has become a minor industry, both in theatre training and in publishing, with courses and related books endorsing, elaborating, or questioning his ‘System’. But how much of the System is really accessible to an English-speaking readership, and how full a view of Stanislavski's fully-formed ideas does it represent? Even the order and timing of the appearance of his works in English has, argues Jean Benedetti, determined our reception of his thought, and left us ignorant, sometimes wilfully, of the real development of his thinking: and in the following article, he traces the complic
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Dissertations / Theses on the topic "Stanislavski"

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Ellerby, Charlotte Jane. "Constantin Stanislavski : acting in opera." Thesis, University of East Anglia, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502106.

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Constantin Stanislavski initially trained as an opera singer before becoming an actor and director. In 1918 he was invited to give a series of lectures and workshops on the art of acting in opera at the Moscow Bolshoy Theatre, and then he directed a whole series of operas between 1922 and 1932. The opera lectures are found in a book entitled On the Art of the Stage, and one of the singers in Stanislavski's Opera Studio named Pavel Rumyantsev records Stanislavski's work on individual operas in a book entitled Stanislavski on Opera. This thesis argues that these lectures are a major contribution
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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
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Jones, Victoria. "Brecht's reception of Stanislavski, 1922 to 1953." Thesis, King's College London (University of London), 2005. https://kclpure.kcl.ac.uk/portal/en/theses/brechts-reception-of-stanislavski-1922-to-1953(27007bd8-dd36-4dab-8e64-3677b87f4ae7).html.

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Kipste, Egils. "Directing experience : an exploration of active analysis and visual cognition theory in the training of contemporary directors." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/72958/2/Egils_Kipste_Thesis_Part_A.pdf.

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The focus of this research is the creation of a stage-directing training manual on the researcher's site at the National Institute of Dramatic Art. The directing procedures build on the work of Stanislavski's Active Analysis and findings from present-day visual cognition studies. Action research methodology and evidence-based data collection are employed to improve the efficacy of both the directing procedures and the pedagogical manual. The manual serves as a supplement to director training and a toolkit for the more experienced practitioner. The manual and research findings provide a unique
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Kerr, William Ryan. "Crippled transcendence, Brian Friel's use of Stanislavski and Brecht." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ60312.pdf.

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Pitches, Jonathan. "The psycho-physical actor : science and the Stanislavski tradition." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368355.

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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 fi
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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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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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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 cr
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Books on the topic "Stanislavski"

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Benedetti, Jean. Stanislavski. Methuen, 1988.

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

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

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1863-1938, Stanislavsky Konstantin, ed. Stanislavski on opera. Routledge, 1998.

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Manderino, Ned. The transpersonal actor: Reinterpreting Stanislavski. Manderino Books, 1989.

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Ramon, Simó i. Vinyes. Stanislavski, la tècnica de l'actor. Institut del Teatre, Diputació de Barcelona, 1989.

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Vinyes, Ramon Simó i. Stanislavski: La tècnica del actor. Institut del Teatre, 1989.

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Georges, Banu, ed. Les répétitions: De Stanislavski à aujourd'hui. Actes sud, 2005.

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Bogdan, Lew. Stanislavski: Le roman théâtral du siècle. Entretemps, 1999.

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Toporkov, Vasiliĭ Osipovich. Stanislavski in rehearsal: The final years. Routledge/Theatre Arts Book, 1998.

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Book chapters on the topic "Stanislavski"

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O'Brien, Nick, Annie Sutton, and Mikhaela Mahony. "Stanislavski." In Theatre in Practice, 3rd ed. Routledge, 2024. http://dx.doi.org/10.4324/9781003361121-3.

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Dunbar, Zachary, and Stephe Harrop. "The Stanislavski Legacy." In Greek Tragedy and the Contemporary Actor. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95471-4_3.

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Merlin, Bella. "Stanislavski (1863–1938)." In The Routledge Companion to Studio Performance Practice. Routledge, 2021. http://dx.doi.org/10.4324/9781003182115-2.

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Ledger, Adam J. "The Director and Stanislavski." In The Director and Directing. Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-40767-2_2.

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Benedetti, Jean. "The Embezzlers." In Stanislavski in Rehearsal, 2nd ed. Routledge, 2023. http://dx.doi.org/10.4324/9781003416395-2.

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Benedetti, Jean. "Conclusion." In Stanislavski in Rehearsal, 2nd ed. Routledge, 2023. http://dx.doi.org/10.4324/9781003416395-5.

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Benedetti, Jean. "Tartuffe." In Stanislavski in Rehearsal, 2nd ed. Routledge, 2023. http://dx.doi.org/10.4324/9781003416395-4.

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Benedetti, Jean. "The Journey Begins." In Stanislavski in Rehearsal, 2nd ed. Routledge, 2023. http://dx.doi.org/10.4324/9781003416395-1.

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Benedetti, Jean. "Dead Souls." In Stanislavski in Rehearsal, 2nd ed. Routledge, 2023. http://dx.doi.org/10.4324/9781003416395-3.

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Hayman, Ronald. "Is Stanislavski out of Date?" In Techniques of Acting. Routledge, 2024. http://dx.doi.org/10.4324/9781003540649-4.

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Conference papers on the topic "Stanislavski"

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Hallissey, Helen. "'WHO AM I, MR. STANISLAVSKI?' AN EXPLORATION OF STANISLAVSKI'S 'SYSTEM' OF TRAINING ACTORS IN REALIZING CHARACTERIZATION IN THE 1999 IRISH DRAMA CURRICULUM (PRIMARY LEVEL)." In 11th International Conference on Education and New Learning Technologies. IATED, 2019. http://dx.doi.org/10.21125/edulearn.2019.0394.

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Zancope, Fernanda, and Eduardo Okamoto. "O Trabalho com as Ações Físicas Propostas pelo LUME Teatro Comparado a conceito de Ação no Sistema Stanislavski." In XXV Congresso de Iniciação Cientifica da Unicamp. Galoa, 2017. http://dx.doi.org/10.19146/pibic-2017-78885.

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Giurescu, Victor. "REFRACTORY NEO-MARXISM AND THE RETROGRADATION OF THE VALUE SYSTEM." In Conferinţa ştiinţifică internaţională „Învăţământul artistic – dimensiuni culturale“ 2023. Academy of Music, Theater and Fine Arts, 2024. http://dx.doi.org/10.55383/iadc2023.21.

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Acting on the idealistic belief that men are born equal, Lenin proclaimed that any kitchen maid could rule the country. Although it sounds nice in theory, in practice such an ideal has turned into a triumph of mediocrity. Instead of giving every one a chance to develop according to their individual talents, it was easier to resort to leveling talented people so that they all reach the same level. We must speak and write about art simply, in a way that everyone can understand. Scholarly expressions scare the students. They stimulate their brains, but not their souls. And because of this, at the
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Dong, Xiao. "POPULARITY OF STANISLAVSKY IN CHINA." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.26.

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Konstantin Sergeevich Stanislavsky is the most influential theater director of the Soviet era in the first half of the 20th century. The system he created, which is based on the “art of experiencing”, had a profound impact on the performing arts of the 20th century. Since it was introduced into China in the 1940s, it has played a very important role in the development of contemporary Chinese drama performance art in the 1950–1960 years. In the 1960–1970, Stanislavsky was criticized in China. Since the late 1970s, although Stanislavsky has been vindicated in China, his importance has correspond
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Mitchell, Kyle David, and Joshua McCoy. "Exploring Stanislavskian Performance for Agent-based Nonplayer Characters through Defeasible Logic." In IVA '24: ACM International Conference on Intelligent Virtual Agents. ACM, 2024. https://doi.org/10.1145/3652988.3673953.

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Bukatov, V. "DRAMOHERMENEUTICS: BASIC PROVISIONS, METHODOLOGICAL GUIDELINES AND EDUCATIONAL PRACTICE." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2557.978-5-317-06726-7/107-112.

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A living understanding (according to Losev) of the topic studied in the lesson for the student is associated with the personal experience (according to Stanislavsky) of its semantic context. The individuality of the tempo/rhythm of this process guarantees the emotionality of the student's mastering of the studied. To provide teachers with the ability to design such a “lesson direction” from the situational-business conjugations of theatrical, hermeneutic and pedagogical spheres of professional activity, drama hermeneutics arose in didactics. Switch super task of which is to provide teachers wi
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Reports on the topic "Stanislavski"

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Ilgenfritz, Pedro. Guide Me Without Touching My Hand: Reflections on the Dramaturgical Development of the Devised-theatre Show One by One. Unitec ePress, 2016. http://dx.doi.org/10.34074/ocds.038.

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This essay is a reflection on some aspects of dramaturgy observed during the creation and development of One by One, a silent tragicomedy designed by the Auckland company, LAB Theatre, in 2011 and restaged in 2013. The emphasis of the essay is on pedagogical aspects at the core of the company’s work, as they inform the creative process and lead to the blending of the actor’s function into that of the dramaturg. The following discussion makes apparent the fact that this process of hybridisation, made possible by implementing features of devised theatre, emancipates the actor and brings improvis
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