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Dissertations / Theses on the topic 'Stanislavski'

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

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Takeda, Cristiane Layher. "Minha vida na arte de Konstantin Stanislavski: os caminhos de uma poética teatral." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-30042009-095757/.

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Konstantin Stanislavski é considerado um dos pilares do teatro moderno. Ator, encenador, pedagogo, pesquisador e teórico teatral, ele transformou o teatro de sua época e sua obra lançou as bases para o treinamento e formação de atores, a primeira sistematização da arte do ator no ocidente, que ficou conhecida como o sistema Stanislavski. Minha vida na arte de Konstantin Stanislavski: os caminhos de uma poética teatral propõe investigar a autobiografia de Stanislavski, publicada na Rússia em 1926. Além do percurso de uma experiência artística incomum, esse primeiro livro stanislavskiano apresen
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12

Souza, e. Silva Silveiro Neto Marta Isaacsson de. "Le Processus créateur de l'acteur : Stanislavski et Grotowski, étude d'une filiation." Paris 3, 1991. http://www.theses.fr/1991PA030075.

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13

Cagno, José Mauricio. "Teatralizações com vistas a vivências psíquicas e espirituais - relação entre princípios jesuíticos na arte da oratória e as propostas de interpretação para atores de Constantin Stanislavski." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/59/59137/tde-18042012-103740/.

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Encontrando nas leituras do Sermão da Sexagésima de Antonio Vieira (1608-1697) princípios propostos para a arte da oratória que também são reconhecidos nos escritos de Constantin Stanislavski (1863-1938) para a arte da interpretação de atores, parte-se nesse trabalho para a verificação de onde estariam as bases que fundamentam tais princípios em Antonio Vieira e se tais bases estariam, de alguma forma, relacionadas aos trabalhos em teatro de Constantin Stanislavski. Utilizando o que se denomina método comparativo direto entre princípios que constituem as artes da palavra, no caso a oratória re
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14

Farenc, Christine. "Penser l'acteur francais contemporain (hypothèses pour une pédagogie)." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030101.

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Dans un théâtre subventionné en crise, l’acteur français se pense aujourd’hui comme un hyper-citoyen, lui qui fut si longtemps privé de citoyenneté. Tout l’enjeu contemporain de la parole de l’acteur s’incarne dans la quête, nostalgique et militante à la fois, de l’éthos et de la transcendance perdus dans le statut d’infâme. En rejaillissant sur l’existence de l’acteur, l’infamie a cristallisé des affects tenaces, passés dans l’inconscient collectif, modelant l’hexis des comédiens, influençant les pratiques scéniques. Elle a contribué à consolider certaines particularités françaises en matière
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15

da, Silva Karen. "Unconcealing experience : Heidegger, Stanislavski and the creation of 'truthful' characterisations in dance." Thesis, University of Surrey, 2017. http://epubs.surrey.ac.uk/841587/.

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Throughout the thirty years I have been watching and participating as a dancer in UK dance theatre, I have become increasingly aware of the ways in which female characters are frequently portrayed through limited representations of women. This research begins by acknowledging that this is a problem and proceeds to look at some of the ways in which such limited representations come about and subsequently how the individuality of the person is overlooked. The main objective of this research is to address this problem by offering a new choreographic approach to creating character in dance works.
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16

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 eq
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17

Dias, Natacha. "As relações entre corpo e memória de Stanislavski a Grotowski - um olhar de filiação artística." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-25022014-161915/.

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Este estudo propõe um olhar sobre o surgimento e continuidade de uma tradição criativa, baseada no trabalho do ator sobre si mesmo, a partir do elo estabelecido entre os artistas Konstantin Stanislavski (1963-1938) e Jerzy Grotowski (1933-1999). A produção de Stanislavski, na Rússia do início do século, gerou um Sistema artístico e pedagógico que, difundido por todo o mundo, tornar-se-ia a mais forte referência no campo da criação e da formação do artista da cena teatral. Menos de vinte anos depois, na vizinha Polônia, o diálogo de Grotowski com os fundamentos deixados pelo mestre russo produz
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18

Delduque, Carolina Martins 1985. "Rastros do sistema de Stanislavski : procedimentos para o trabalho de criação do ator." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284595.

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Orientador: Verônica Fabrini Machado de Almeida<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-21T10:04:27Z (GMT). No. of bitstreams: 1 Delduque_CarolinaMartins_M.pdf: 1510371 bytes, checksum: f1f0585f4348612b2e5ba47359197825 (MD5) Previous issue date: 2012<br>Resumo: Esta pesquisa se insere no campo das investigações sobre o trabalho do ator e tem como tema o trabalho de criação do ator, a partir dos pressupostos do Sistema de Stanislavski. O trabalho abriu-se em duas frentes: o campo teórico e da práxis cênica, que c
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19

Santolin, Rosane Faraco. "Stanislavski na ópera : procedimentos e técnicas para o cantor-ator e o espetáculo." Universidade do Estado de Santa Catarina, 2013. http://tede.udesc.br/handle/handle/1271.

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Made available in DSpace on 2016-12-08T16:51:58Z (GMT). No. of bitstreams: 1 112524.pdf: 2863264 bytes, checksum: 94ea50c0cf1f2d99165ee5557796309d (MD5) Previous issue date: 2013-04-26<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>A presente pesquisa tem o objetivo de apresentar o percurso histórico do encenador Constantin Stanislavski no gênero da ópera e refletir sobre suas ideias e práticas neste ramo. Ele esteve à frente de estúdios de ópera de 1918 a 1938, dirigiu diversas óperas e adaptou o seu ¿sistema¿ para atores, criando um ¿sistema¿ que pode ser considerado com
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20

Capucci, Raquel Rodrigues. "Perejivanie : um encontro de Vigotski e Stanislavski no limiar entre Psicologia e Arte." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/23604.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Psicologia, Programa de Pós-Graduação em Processos de Desenvolvimento Humano e Saúde, 2017.<br>Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-05-22T20:20:00Z No. of bitstreams: 1 2017_RaquelRodriguesCapucci.pdf: 4059585 bytes, checksum: 923baff1371fa3c00ebb96213304e9a3 (MD5)<br>Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2017-05-29T23:43:45Z (GMT) No. of bitstreams: 1 2017_RaquelRodriguesCapucci.pdf: 4059585 bytes, checksum: 923baff1371fa3c00ebb96213304e9a3 (MD5)<br>Made available in DSpa
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21

Goncalves, Cristiano Peixoto. "A perspectiva orgânica da ação vocal no trabalho de Stanislavski, Grotowski e Brook." Universidade Federal de Minas Gerais, 2011. http://hdl.handle.net/1843/JSSS-8HNFP2.

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This research focuses on the field of the vocal action, based on concepts found in the works of the theater directors Constantin Stanislavski, Jerzy Grotowski and Peter Brook. Their principles and process converge to an intersection: what Grotowski named organic pole of the acting techniques. This research not only works on theprocess strictly linked to the voice and the word, but also analyzes the relation between the acting totality and the work about the vocal action among each of those directors. From an organic perspective, we intend to analyze the principles and process of the vocal acti
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22

Coveñas, Rodas Víctor Hugo José, and Guzmán Daniela Lucía Zea. "La realidad en escena : Abordando la actuación desde la aproximación a Meisner y Stanislavski." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2018. http://tesis.pucp.edu.pe/repositorio/handle/123456789/13084.

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La presente investigación plantea la complementariedad de la Técnica Meisner con el Sistema Stanislavski que es utilizado, de manera estructural, en la formación de los alumnos de la Especialidad de Teatro de la Facultad de Artes Escénicas de la Pontificia Universidad Católica del Perú. Una obra teatral exige verosimilitud en distintos elementos escénicos, pero, principalmente, en el actor. La verosimilitud es visible en el actor a través de su espontaneidad, la cual puede ser dividida en acción física e improvisación. Creemos que el sistema Stanislavski desarrolla de manera sucinta el e
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23

Castanheira, Carla Isabel Parreira Chora Carvalho. "A metamorfose do ator – Investigação baseada nas metodologias de Constantin Stanislavski e Bertolt Brecht." Master's thesis, Universidade de Évora, 2022. http://hdl.handle.net/10174/31710.

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Pela sua capacidade de adaptação e transformação, o trabalho do ator é, na minha opinião, um processo teatral caracterizado por várias fases - desde a construção de personagem à interpretação da mesma – e, por isso, o elemento central no exame crítico da cena teatral. A presente dissertação tem como principal objetivo investigar a fim de perceber a que meios/técnicas o ator recorre no seu processo de construção de personagem e como as metodologias utilizadas por quem o dirige influenciam o resultado do seu trabalho. Nesta minha pesquisa laboratorial, que consistia numa comparação de metodologi
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24

M'Rabet, Moez. "Stanislavski dans le théâtre américain : réception, transmission et évolution d'une approche du jeu théâtral." Paris 3, 2007. http://www.theses.fr/2007PA030035.

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Après la Russie, c’est sans doute aux États-Unis que l’influence de Stanislavski, « père » de l’art du jeu moderne, fut - et reste – prépondérante. Par son intensité, son ampleur, sa longévité, mais aussi par sa capacité à surmonter nombre d’obstacles (politiques, linguistiques, culturels), le rapport de Stanislavski au théâtre américain apparaît indéniablement comme un phénomène étonnant et fascinant. Rares furent, cependant, les études de cette influence tenant compte à la fois de l’héritage russe et de l’impact du Système sur le jeu de l’acteur américain, et s’inscrivant dans une perspectiv
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25

Levanen, Leo. "Realismi ja eläytyminen : Mihail Štšepkin, Konstantin Stanislavski ja Sergei Obraztsov teatteriperinteensä luojina ja kehittäjinä /." Oulu : Oulun yliopisto, 1995. http://catalogue.bnf.fr/ark:/12148/cb414905178.

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26

Araujo, Aline Soares. "Construção cênica para a canção: princípios de Stanislavski numa proposta de expressão cênico-musical." Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/AAGS-8ZUM5Q.

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In our self-experiences and also dealing with other singers, we perceive that some singers, and specially lyrical singers, frequently come across difficulties to associate bodily work to the vocal work they produce. While performing, they often feel unprepared or short of resources to express themselves the way they really wished. Usually, few enjoy the expressive possibilities which result from the relations either between their body and the music, their body and voice or space and the public. In face of the shortage of a bibliography in Brazil that approaches a scenical-corporal work directe
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27

Greve, Sabrina Tozatti. "O Ator do teatro ao cinema: um estudo sobre apropriações." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-06022018-100232/.

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Esta dissertação se propõe a investigar a função do ator e seu modelo de interpretação para o cinema, partindo de apropriações da pesquisa teatral. A partir do sistema de atuação criado por Konstantin Stanislavski, estabeleço uma trajetória de apropriações que se inicia concomitantemente ao desenvolvimento da linguagem cinematográfica, contemplando primeiramente a pesquisa dos cineastas russos Lev Kuleshov, Sergei Eisenstein e Vsevolod Pudovkin. Em um segundo momento, analiso como as ideias de Stanislavski chegaram nos Estados Unidos, influenciando tanto o teatro quanto o cinema americanos. A
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28

McCaghren, Paxton H. "Pigments of Imagination: An Actor's Journey of Creating the Character of Jack Lawson from David Mamet's Race." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1600.

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Abstract The purpose of this study is to create a believable, multiple dimension character portrayal of Jack Lawson in David Mamet’s Race. Documentation of the process will include: an explanation of the acting technique and analysis used to create the backstory and portrayal of the character; insight into the background and beliefs of playwright, David Mamet; and a personal review of my growth and performance.
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29

Pinto, Pedro Arnaldo Henriques Serra. "Eu, o outro e nossas circunstâncias: o legado de stanislavski para uma formação teatral eticamente comprometida." Escola de Teatro da Universidade Federal da Bahia, 2013. http://repositorio.ufba.br/ri/handle/ri/14511.

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Coimbra, Jo?o Paulo Valadares. "O ator antes da cena: procedimentos de criação através da linha de ações físicas em Stanislavski e Grotowski." Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/JSSS-8ZBGG4.

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This paper aims to revisit, on the prism of "physical action" some processes of creation of Konstantin Stanislavski and Jerzy Grotowski name a few co-related concepts such as "if" magic, "given circumstances", "task", "super-task", speaks scenic and "time-rhythmic" in Stanislavski and "discipline and spontaneity, "Impulses", "associations", "contact" and "total action" in Grotowski. The idea is to search a text that offers an easy to read, for both professionals and students of theater, in order to contribute to the solution of practical problems present in the daily lives of actors and direct
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31

Piacentini, Ney Luiz. "Eugênio Kusnet: do ator ao professor." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-22082012-163914/.

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A trajetória de Eugênio Kusnet, de ator a professor, é o objeto deste projeto. Vamos averiguar que, desde quando retomou seus vínculos com o teatro no Brasil, Kusnet era um ator em formação, com pouca experiência artística no seu país de origem - a Rússia, de onde emigrou para o Brasil. Veremos que a compreensão da obra daquele que foi sua maior influência, Constantin Stanislavski, aconteceu de forma gradativa e observaremos de que modo ele a aplicou exemplarmente na encenação de Os Pequenos Burgueses no Teatro Oficina, na década de 1960. Destacaremos a viagem que Kusnet fez de volta a Rússia
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32

Johnston, Daniel Waycott. "Active Metaphysics: Acting as Manual Philosophy or Phenomenological Interpretations of Acting Theory." University of Sydney, 2008. http://hdl.handle.net/2123/3984.

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PhD<br>This thesis considers actors as ‘manual philosophers’; it engages the proposition that acting can reveal aspects of existence and Being. In this sense, forms of acting that analyse and engage with lived experience of the world offer a phenomenological approach to the problem of Being. But rather than arrive at abstract, general conclusions about the human subject’s relationship to the world, at least some approaches to acting investigate the structures of experience through those experiences themselves in a lived, physical way. I begin with the troubled relationship between philosophy a
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33

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-base
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34

Cook, Laura E. "A “Spyback” on Three Years of Graduate Training." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1240242619.

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35

Enriquez, Andres Ray. "Acting as a life : "What am I doing?"." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3290.

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36

Legendre, Claire. "La vérité comme enjeu théatral dans les esthétiques scéniques du XXème siècle européen : textes de Constantin Stanislavski, Antonin Artaud, Bertold Brecht." Nice, 2009. http://www.theses.fr/2009NICE2005.

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Le théâtre du XX ème siècle européen, devenu pratique signifiante, a progressivement privilégié les principes de création et de performance, contre celui de la représentation d'un texte. Cette évolution s'est faite par étapes, depuis la révolution copernicienne de la fin du XIXème siècle, qui plaça le metteur en scène au centre de l'activité théâtrale – ce qui fut un bouleversement épistémologique –jusqu'aux expériences polémiques récentes comme celles du Festival d'Avignon 2005. Il nous a semblé reconnaître, sous le scandale de ce théâtre désormais performatif et en prise sur le réel, les inf
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37

Patterson, Kathryn. "An Actor’s Approach to Claire in Proof by David Auburn." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3016.

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The areas of study in the Proof thesis contain research on the play, the playwright, and the acting style utilized in the performance and character analysis. The acting style in this process focuses on the actor’s creative work in preparation of portraying a female character. This character is a controlling woman that is unable to manipulate others. By using relaxation techniques involving the Alexander Technique, the actor was able to transition into the character with honest emotions and motives. Finding similarities to the character by using personal relationships gave the actor the ability
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38

Bernardino, Vanderlei. "O ator do Teatro de Arena no cinema novo." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-06052014-103815/.

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Esta pesquisa aborda a influência de métodos e técnicas da interpretação do ator no contexto do cinema brasileiro moderno, quando o trabalho, o estilo e os métodos de interpretação do Teatro de Arena encontraram seu desdobramento no estilo de interpretação de atores, em filmes precursores e clássicos do Cinema Novo. Para isso vamos identificar quais as influências técnicas desta interpretação, como o sistema de Stanislavski, o método do Actors Studio, o efeito de distanciamento de Bertold Brecht. Na análise de cenas e sequências de filmes focalizo no trabalho dos atores a interação com a estét
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39

Mauch, Michel. "Poética e pedagogia: Maria O. Knebel e o monólogo interior." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-18052015-164353/.

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Esta pesquisa tem como objetivo apresentar o desenvolvimento do trabalho artísticopedagógico- teatral de Maria Osipovna Knebel (1898 - 1985). Focamo-nos na criação e no desdobramento de sua filosofia pedagógica, bem como analisamos e discutimos o monólogo interior. No Primeiro Capítulo, enfatizamos a relação de Knebel com Mikhail Tchekhov (1891 - 1965) e os caminhos que levaram-na a seguir a carreira teatral. Dentro desse contexto, fazemos uma breve análise sobre o trabalho improvisacional tchekhoviano e sua influência sobre a formação da diretorapedagoga. Em um salto, vamos da primeira classe
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40

Nyman, Jessica. "Från objekt till tecken - en studie i rekvisita, naturalism och Tjechov." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22413.

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Genom en teoretisk studie kombinerad med praktikbaserad empiri ifrån mitt praktiska arbete redogör jag i denna text för rekvisita som aktör och dess roll inom teater. Med de litterära undersökningarna inom naturalism och Tjechov-tradition och de praktiska erfarenheterna av att arbeta med rekvisita försöker jag ta fasta på vad rekvisita är och hur det används och har använts tidigare i Tjechovs pjäser.
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41

Granke, Daniel. "Decoding Acting Vocabulary." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3110.

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This paper compares seemingly similar words from a variety of acting teachers, and shows how it is impossible to draw clear comparisons between words that are often used as synonyms. The paper is a reflection of the journey from believing in translation to recognizing its impossibility. In Chapter 1 we focus on one of the most common elements in actor training, Attention/focus/concentration, and analyze the shades of meaning in those words and the difficulty of talking about them in isolation. In Chapter 2 we look at the way in which semiotic analysis can explain the words resistance to equiva
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42

Sanchez, Licia Maria Morais. "O processo Pina-Bauschiano como provocação à dramaturgia da memoria." [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285085.

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Orientador: Marcio Aurelio Pires de Almeida<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-01T06:20:25Z (GMT). No. of bitstreams: 1 Sanchez_LiciaMariaMorais_M.pdf: 7519806 bytes, checksum: 0eb7f7e06dc7fa1926ae5ae11531980e (MD5) Previous issue date: 2001<br>Resumo: Este trabalho descreve a trajetória de uma experiência influenciada pela escola expressionista alemã, que culminou com a nossa convivência com a mais importante representante desta corrente no mundo contemporâneo atual, a criadora de teatro de dança Pina Baus
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43

Stover, James P. "An Exploration on the Michael Chekhov Technique in Rehearsal, Performance and the Classroom." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3743.

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The Michael Chekhov Technique is a unique approach to acting that has been successfully used by professional actors for many years. This thesis explores finding a strong understanding of the technique as well as discovering ways to incorporate it into an undergraduate actor training program. The examination aims to further my aesthetic both as theatre teacher and practitioner. It includes training with master teachers in the technique, incorporating Chekhov exercises into undergraduate acting and movement classes and use of the technique on a production of Pride & Prejudice.
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Johnston, Daniel Waycott. "Active Metaphysics: Acting as Manual Philosophy or Phenomenological Interpretations of Acting Theory." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/3984.

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This thesis considers actors as ‘manual philosophers’; it engages the proposition that acting can reveal aspects of existence and Being. In this sense, forms of acting that analyse and engage with lived experience of the world offer a phenomenological approach to the problem of Being. But rather than arrive at abstract, general conclusions about the human subject’s relationship to the world, at least some approaches to acting investigate the structures of experience through those experiences themselves in a lived, physical way. I begin with the troubled relationship between philosophy and th
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Otani, Daves. "Geratriz improvisacional espetacular = processo criativo da Boa Companhia =Spectacular improvisational generatrix : Boa Companhia's creative process." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284587.

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Orientador: Verônica Fabrini Machado de Almeida<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-21T22:11:29Z (GMT). No. of bitstreams: 1 Otani_Daves_D.pdf: 3263077 bytes, checksum: b6e31bdd9d62b39a46f9ea95f66b1486 (MD5) Previous issue date: 2012<br>Resumo: A presente pesquisa trabalha com a hipótese de que existe uma geratriz improvisacional espetacular (GIE) que, por meio de matrizes criativas definidas anteriormente e/ou encontradas durante o período inicial da montagem de um espetáculo teatral, proporciona que a improvisaç
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46

Johnson, Anthony Lewis. "Training the Young Actor: A Physical Approach." University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1258075804.

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Tourinho, Ligia Losada. "Um estudo de construção da personagem a partir do movimento corporal." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284814.

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Orientador: Eusebio Lobo da Silva<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-04T00:58:20Z (GMT). No. of bitstreams: 1 Tourinho_LigiaLosada_M.pdf: 414558 bytes, checksum: bf5cece53b4993791eb703fe94849dd6 (MD5) Previous issue date: 2004<br>Resumo: Esta pesquisa apresenta um estudo sistemático sobre a construção da personagem nas Artes Cênicas, pelo prisma do movimento corporal, utilizando como principal suporte teórico e prático os estudos da Coreologia de Rudolf Von Laban e da Técnica de Stanislavski. Tomamos como b
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48

Rosa, Maria Lúcia da Silva. "Recitais cênicos no CEP/EMB : proposta de uma abordagem interartística a partir de processos criativos." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/24625.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Artes, 2017.<br>Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-08-17T21:27:16Z No. of bitstreams: 1 2017_MariaLúciadaSilvaRosa.pdf: 4243206 bytes, checksum: 191126ab1dcd272bbd44046f67baccd6 (MD5)<br>Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2017-09-22T20:29:51Z (GMT) No. of bitstreams: 1 2017_MariaLúciadaSilvaRosa.pdf: 4243206 bytes, checksum: 191126ab1dcd272bbd44046f67baccd6 (MD5)<br>Made available in DSpace on 2017-09-22T20:29:51Z (GMT). No. of bits
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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
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Facio, Robert J. "How to Tame a Shrew (11 Things I Hate About Her) An Actor's Method to Characterizing Petruchio in The Taming of the Shrew." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1794.

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The Taming of the Shrew is an early comedy that exposes the oddities we take for granted: curious conventions, wild assumptions, gender roles, relationships, social status, fashion, and everything else we know so defectively. The given circumstances of the script and Petruchio are specific in choice, yet broad in interpretation. Petruchio, the catalyst behind Katherine’s character arc, needed to not only be believable in his ways, but likeable by the audience. This thesis examines the process required to successfully develop and bring to life the character of Petruchio to our modern audience.
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