Academic literature on the topic 'Stanislavsky method'
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Journal articles on the topic "Stanislavsky method"
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Tyszka, Juliusz. "Stanislavsky in Poland: Ethics and Politics of the Method." New Theatre Quarterly 5, no. 20 (November 1989): 361–69. http://dx.doi.org/10.1017/s0266464x00003675.
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The reception of most manifestations of Russian art and culture in Poland is linked inextricably with the political situation, and official and popular attitudes are often widely divergent. From the first visit of the Moscow Art Theatre to Warsaw in 1908, when most Poles boycotted the performances, through enthusiasm tempered by ignorance in the inter-war period, to the 'Stalinization' of Stanislavsky as official mediator of socialist realism in the late 'forties, Polish attitudes to the 'method' which was Stanislavsky's legacy are here examined by Juliusz Tyszka. Today, he concludes, Poles have largely consigned Stanislavsky to the lumber-room of history – though there are a few cautionary voices who urge his continuing relevance.
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Merlin, Bella. "Which Came First: The System or ‘The Seagull’?" New Theatre Quarterly 15, no. 3 (August 1999): 218–27. http://dx.doi.org/10.1017/s0266464x00013014.
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Anton Chekhov's dissatisfaction with Konstantin Stanislavsky's early productions of his plays is well known and oft-discussed. However, it may be argued that the detailed analysis to which Stanislavsky subjected the script of The Seagull, though offensive to the author's intentions, led to the germination of Stanislavsky's acting system as well as laying the foundations for the success of Chekhov's own dramatic career. Bella Merlin, Lecturer in Drama and Theatre Arts at Birmingham University, explores this avenue of debate by assessing the possible reasons for the Alexandrinsky Theatre's failure in its premiere of The Seagull in 1896. Thereafter, the mutual dependency of Chekhov and Stanislavsky is discussed with reference to the success of the Moscow Art Theatre's production of 1898. In the following article in this issue, she links these reflections on the play's early fortunes to its relevance to the ‘Method of Physical Actions’ developed by Stanislavsky towards the end of his career.
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Moschkovich, Diego. "‘Everything Now is Lost’: Stanislavsky’s Last Class at the Opera-Dramatic Studio." New Theatre Quarterly 39, no. 2 (May 2023): 85–91. http://dx.doi.org/10.1017/s0266464x23000039.
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On 22 May 1938, Stanislavsky gathered his group of eleven assistant-pedagogues at the Opera-Dramatic Studio for a last collective class. The Studio was already free for the summer vacation after the tumultuous first show of Chekhov’s Three Sisters, opened only to a small number of guests a week before. Mikhail Kedrov had rehearsed the performance with the students for the preceding three years, and it was doomed to become the first public presentation of the so-called ‘method of physical actions’. Nevertheless, the presentation brought nothing more than doubts about the work done, and Stanislavsky felt compelled to call upon the pedagogues to understand what had happened. After briefly presenting his opinion of the work that had been shown, he started to elaborate on the technical and artistic achievements of the Studio. Stanislavsky began his talk in its stenographic transcript (File No. 21179 in the Stanislavsky Fund of the Moscow Art Theatre Museum Archives) with: ‘Everything now is lost. The technique and all the rest. I don’t see any foundation … any more. You should now start by the critique of the method I have been experimenting on.’ This article analyzes Stanislavsky’s documented talk, showing that he was not convinced that he had a new methodology, let alone one that synthesized his life-long theatre experiments. It seeks to present evidence that both the Physical Action and Active Analysis methodologies derived from Stanislavsky’s thought post mortem were developed only as two possible paths from his experiments, but were not the telos of his thought.
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Volkova, Viktoria. "Stanislavsky’s Legacy: From Vasily Toporkov to Oleg Yefremov and Oleg Tabakov." New Theatre Quarterly 40, no. 2 (April 29, 2024): 142–57. http://dx.doi.org/10.1017/s0266464x24000034.
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This article discusses the continuity of Konstantin Stanislavsky’s pedagogy directly to his disciple Vasily Toporkov, and from him to his students Oleg Yefremov and Oleg Tabakov. Toporkov joined the Moscow Art Theatre (MAT) as an actor eleven years before Stanislavsky’s death, which allowed him to participate in the final phase of Stanislavsky’s life’s work and his development of the method of psychophysical actions. Struck by Stanislavsky’s authority, scrutiny, and caring attitude towards all actors, as well as other co-workers of the theatre, Toporkov transmitted this legacy, together with the practical knowledge that he had gained, to Yefremov and Tabakov, recounting vivid stories and anecdotes about Stanislavsky. The article traces the professional development of both men: each founded his own theatre, Yefremov the Sovremennik, and Tabakov the Tabakerka. Thus, whether or not they set out to do so, both Yefremov and Tabakov followed Stanislavsky’s life example, when he founded the MAT. Their decision to follow Stanislavsky’s example was a logical consequence of this great teacher’s life-affirmative, spiritual, material, and intellectual legacy, which is on a par with the most significant humanistic writings. The key spiritual-physical aspects of Stanislavsky’s legacy have been passed down in a straight line from Stanislavsky to his students, from them to their students, and so on, from one generation of the Moscow Art Theatre to the next, until the present day.
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Krivonosov, I. I. "About the "supertask" ("sverhzadacha") of K. S. Stanislavsky... (about the history of the word supertask (sverhzadacha) in the Russian language)." Russian language at school 82, no. 3 (May 21, 2021): 92–98. http://dx.doi.org/10.30515/0131-6141-2021-82-3-92-98.
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The article is devoted to the history of the appearance and functioning of the word supertask (sverhzadacha) in the Russian language. Two lines of the lexeme functioning were distinguished: the first is associated with the etymology of the word, the second – with its use by K. S. Stanislavsky in the terminology system and the further entry of the unit into general use on the basis of determinologization. It is interesting that the second meaning has acquired the most widespread use. Only in the past two decades, the word has begun to lose its connection with the process of artistic creation. The purpose of the study was to briefly review the history of the word: from its first fixation in the Russian language and application by K. S. Stanislavsky (to designate one of the key concepts of Method Acting) up to modern contexts of use. The entry of the lexeme into the language was investigated using structural methods. The methods of contextual and distributive analysis were used to analyse both the contexts in which Stanislavsky used this word and the process of its fixation in the National Corpus of the Russian language. Statistical analysis was used to trace the dynamics of integration of the lexeme into the Russian language and its fixation in various spheres. The methods of component and comparative analysis were used to describe the formation mechanism of the initial term in the historical context. Borrowings of the term supertask (sverhzadacha) were found in other languages, indicating the spread of Stanislavsky’s system. The conclusion is drawn that the word supertask (sverhzadacha) functions in the Russian language mainly as a term from Stanislavsky’s system, gradually becoming determinologized and returning to the meaning conveying the logical sum of its constituent components.
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Cojan, Daniela. "The Birth and Evolution of Stanislavsky’s Method." Theatrical Colloquia 7, no. 1 (June 1, 2017): 299–305. http://dx.doi.org/10.1515/tco-2017-0012.
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Abstract The stanislavskian system arises in full development of the realist current. Starting from the word, the actor expresses through gestures, intonations and mimics. The pre-stanislavskian actor is dominated by dilentatism and emotional “accidents”, the balance is tilted to an act full of clichés and crafts. Perhaps the most important lesson that Stanislavsky gives us is that for the actor in his work to reach a credible character, he must go through all states, sensations and feelings required in building a character. We cannot forget, however, that Stanislavsky devised a new method of representation also due to the emergence of Chekhovian texts. To give effect to the new ways of writing, the attention must focus on the actors, without neglecting the scenography. Stanislavsky wants to convince the actor that if he doesn’t want to use tricks to present truth, he should be just like a painter or musician, to devote his whole being, “body and soul especially” in the creative process.
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Perevalov, A. I. "Anatoly Vasiliev’s Theatre. Semiology of Continuity and the Way to a New Type of Theatrical System." Discourse 10, no. 3 (June 20, 2024): 5–18. http://dx.doi.org/10.32603/2412-8562-2024-10-3-5-18.
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Introduction. The article provides a general description of Anatoly Vasiliev’s theatrical method, discussing the essence of methodological and philosophical breakthroughs in the future of Russian and world theaters, and, in this context, the continuity of the main tenets of Stanislavsky’s system.Methodology and sources. The article compares two theatrical concepts, two methodological, philosophical, and historical approaches of Russian and World Theatres: Stanislavski’s system and Vasiliev’s method. It determines the semiology of continuity and features of a new approach to the development of dramatic art.Results and discussion. The article highlights the elements of the Stanislavsky system present in Anatoly Vasiliev’s method, aiming to derive an algorithm for utilizing new opportunities based on established systems and techniques for training modern actors. The article's conclusions are drawn from five years of experience (since 1988) with the Vasiliev method, gained through direct contact with the master while collaborating on texts by Plato, Oscar Wilde, Fyodor Dostoevsky, William Faulkner, Thomas Mann, Erasmus of Rotterdam, and Alexander Pushkin. As the article relies on introspective research followed by epistemological analysis, it maintains a subjective nature. It is the outcome of the author’s experience working within the Anatoly Vasiliev’ s School of Dramatic Art at the GITIS acting and directing course (1988–1993), and years of observation of the method’s evolution in working with Vasiliev's students, students of theater universities, and professional actors both in Russia and abroad.Conclusion. The article does not claim to precisely represent Vasiliev’s ideas and thoughts but rather reflects the author’s journey through the rehearsal process in Vasiliev’s theater, acknowledging the internal changes experienced by the author as an actor, director, and individual within the method. It abstains from making value judgments regarding the Stanislavsky system and Vasiliev’s method, instead highlighting the most distinctive features of the theatrical method, elucidating its philosophy, and emphasizing the unity between the Stanislavsky and Vasiliev systems.
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Shakhmatova, Elena V. "The formation of K. S. Stanislavsky’s system in the context of the Silver Age Culture: Influence of the East." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2023): 196–209. http://dx.doi.org/10.35852/2588-0144-2023-1-196-209.
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The article presents an overview of the All-Russian scientific conference with the contribution of international participants. It took place at GITIS on November 2–3, 2022. While creating his famous theatre system, K.S. Stanislavsky discovered some common details between his methods of pedagogical practice and yoga. He intuitively came to the same methods of influencing the psyche that had been known in the East for thousands of years. In the process of his work, he addressed the concept of “prana”, that he borrowed from the yogis. He also used such terms as “emission” and “perception”, “radiation” and “induction”, that were adopted from the French philosopher and psychologist T. Ribo. In the second half of the 19th century, the concept of psychic energy became widespread in psychology and was used to interpret numerous inexplicable phenomena during spiritual sessions. Sigmund Freud freed this term from mystical overtones and denoted it with the word “libido”. Carl Jung, the founder of analytical psychology, proposed to consider the libido neutral by its character as a universal psychic energy. By addressing some principles of yogic teaching, K. S. Stanislavsky created various methods for the development and improvement of the actor’s psychotechnics. From this basis, his colleagues,followers, and students later developed a number of psychophysical trainings. They became part of Stanislavsky’s method known throughout the world as his “system” and have proven to be very useful in the process of an actors’ education. The purpose of the conference was to reveal those aspects of the Silver Age culture which contributed to the creation and establishment of the K. S. Stanislavsky system.
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Merlin, Bella. "Mamet's Heresy and Common Sense: what's True and False in ‘True and False’." New Theatre Quarterly 16, no. 3 (August 2000): 249–54. http://dx.doi.org/10.1017/s0266464x00013877.
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David Mamet's book, True and False: Heresy and Common Sense for the Actor (Faber, 1998), is rapidly becoming recommended reading amongst the acting fraternity. In this article Bella Merlin offers a critical dissection of Mamet's approach, drawing on the working knowledge of Stanislavsky's Method of Physical Actions, or Active Analysis, which she acquired at the State Institute of Cinematography in Moscow. She underlines the fragility of Mamet's dismissal of Stanislavsky, and illustrates how much of his ‘common sense’ actually derives from the principles underlying the Method of Physical Actions. Bella Merlin is an actor and lectures in Drama and Theatre Arts at Birmingham University.
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Tcherkasski, Sergei, and Сергей Черкасский. "The System Becomes the Method: Stanislavsky—Boleslavsky—Strasberg." Stanislavski Studies 2, no. 1 (November 2013): 97–148. http://dx.doi.org/10.1080/20567790.2013.11428597.
Full textDissertations / Theses on the topic "Stanislavsky method"
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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.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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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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Radvan, Mark. "Towards Bodydialogue : developing a process for enhancing the actor's physicalisation skills in rehearsal and performance." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16025/1/Mark_Radvan_Thesis.pdf.
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Bodydialogue is a coherent and simple system of exercises, rehearsal techniques, principles and aesthetic values which in application enhance the actor's ability to physicalise dramatic action and behaviour. It can be applied directly within a rehearsal process to heighten the physical life of a play or performance event, or it can be taught separately as a system for providing student actors with concrete skills in movement, stagecraft and physical characterisation.
Unlike many other movement systems taught in drama schools, such as Mime, Dance, Acrobatics or Alexander, which are grounded in their own discipline base, Bodydialogue is grounded in Stanislavsky's Acting through the Method of Physical Action, and as such is centered in the discipline of text-based Acting. It is thus first and foremost an approach to Acting via Physical Action and Physical Behaviour, rather than a study of Movement, or a movement genre.
This thesis describes the development and application of Bodydialogue physicalisation techniques to a workshop production of miss julie downunder - an adaptation of Strindberg's Miss Julie - and situates the place of these techniques within contemporary Acting discourse.
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Radvan, Mark. "Towards Bodydialogue : developing a process for enhancing the actor's physicalisation skills in rehearsal and performance." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16025/.
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Bodydialogue is a coherent and simple system of exercises, rehearsal techniques, principles and aesthetic values which in application enhance the actor's ability to physicalise dramatic action and behaviour. It can be applied directly within a rehearsal process to heighten the physical life of a play or performance event, or it can be taught separately as a system for providing student actors with concrete skills in movement, stagecraft and physical characterisation.
Unlike many other movement systems taught in drama schools, such as Mime, Dance, Acrobatics or Alexander, which are grounded in their own discipline base, Bodydialogue is grounded in Stanislavsky's Acting through the Method of Physical Action, and as such is centered in the discipline of text-based Acting. It is thus first and foremost an approach to Acting via Physical Action and Physical Behaviour, rather than a study of Movement, or a movement genre.
This thesis describes the development and application of Bodydialogue physicalisation techniques to a workshop production of miss julie downunder - an adaptation of Strindberg's Miss Julie - and situates the place of these techniques within contemporary Acting discourse.
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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.M.F.A.
Arts and Sciences
Theatre
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Martins, Laédio José. "Análise ativa: uma abordagem do método das ações físicas na perspectiva do curso de direção teatral da Universidade Federal de Santa Maria-RS." Universidade do Estado de Santa Catarina, 2011. http://tede.udesc.br/handle/handle/1353.
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This paper discusses the process of the artistic training described in Theater Directing from the perspective of the Active Analysis Method. The method was developed in Russia by Konstantin Stanislavsky (1863-1938) and transmitted by one of his students, Gueorgui Tovstonógov (1915-1989) to Nair Dagostini (19_ _), the first Brazilian to study at the State Institute of Theater, Film and Music Leningrad (1978-1981). The learning reverberates in the Course of Direction and Theatre Interpretation of the Federal University of Santa Maria / RS in the period of 1994-2004, during this time it was possible for her to apply some of the methods of the paradigm found in the USSR. The Educational Policy Plan which Dagostini helped to formulate was built on a common ground for actors and directors and the Active Method of Analysis held the post of unifying center of the process of education and training of the artist. The approximation of the method was given gradually over the first three semesters and was still being applied as a methodology for implementation of the transposition of the text to the scene during graduation. Active Analysis via the Method of Physical Action - that enables the acquisition and mastery of the elements of the Stanislavski System - provides the lead actor in the director route to achieving the central idea of the work that is assembled by inserting the actor on the world of the play and unfolding through the action proposed by the circumstances given the intimacy of the relationships established by the author, what's behind the words
Este trabalho trata do processo de formação artística em Direção Teatral descrito da perspectiva do Método da Análise Ativa. O Método foi desenvolvido na Rússia por Konstantin Stanislávski (1863-1938) e transmitido por um de seus alunos, Gueorgui Tovstonógov (1915-1989) à Nair Dagostini (19_ _ ), primeira brasileira a estudar no Instituto Estatal de Teatro, Cinema e Música de Leningrado (1978-1981). Seu aprendizado reverbera no Curso de Direção e Interpretação Teatral da Universidade Federal de Santa Maria/RS no período de 1994-2004, tempo durante o qual pode aplicar algumas das metodologias do paradigma que encontrou na URSS. O Plano Político Pedagógico que Dagostini ajudou a formular foi construído sobre uma base comum para atores e diretores e o Método da Análise Ativa ocupou o lugar de centro unificador do processo de educação e formação do artista. A aproximação ao Método se dava gradualmente ao longo dos três primeiros semestres e continuava sendo aplicado como metodologia para a concretização do processo de transposição do texto para a cena durante a graduação. A Análise Ativa, por intermédio do Método das Ações Físicas que possibilita a aquisição e domínio dos elementos do Sistema Stanislávski faculta o diretor conduzir o ator no percurso de concretização da ideia central da obra que se monta, inserindo o ator no universo da peça e desvendando através da ação proposta pelas circunstâncias dadas a intimidade das relações estabelecidas pelo autor, o que está por detrás das palavras
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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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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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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. It includes historical background information on William Shakespeare and the origins of the play itself, Sanford Meisner’s Techniques (moment-to-moment analysis & actioning) and Konstantin Stanislavski’s system are included with the scored actor’s script, journals recorded by the actor to verify his victories and defeats during the six-week production process and critiques to support the success of the production.
Books on the topic "Stanislavsky method"
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Blumenfeld, Robert. Stagecraft: Stanislavsky and external acting techniques : a companion to using the Stanislavsky system. Montclair, NJ: Limelight Editions, 2011.
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Parke, Lawrence. Since Stanislavski and Vakhtangov: Themethod as a system for today's actor. Hollywood: Acting World Books, 1986.
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Gordon, Mel. Stanislavsky in America: A workbook for actors. New York: Routledge, 2009.
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Gordon, Mel. The Stanislavsky technique: Russia : a workbook for actors. New York: Applause Theatre Book Publishers, 1988.
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Pitches, Jonathan. Science and the Stanislavsky tradition of acting. London: Routledge, 2006.
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Anna, Migliarisi, ed. Stanislavsky and directing: Theory, practice, and influence. New York: Legas, 2008.
Find full textBook chapters on the topic "Stanislavsky method"
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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, 124–49. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429458590-10.
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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, 173–94. Routledge, 2013. http://dx.doi.org/10.4324/9780203112304-22.
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"THE METHOD OF PHYSICAL ACTION." In Stanislavski, 97–108. Routledge, 2005. http://dx.doi.org/10.4324/9780203998182-10.
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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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"Myths, Methods, Systems, Superstitions." In Beyond Stanislavsky, 21–107. 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, 125–52. 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, 23–34. Routledge, 2013. http://dx.doi.org/10.4324/9780203821534-8.
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Gennaro, Liza. "Jerome Robbins on Broadway: 1944–1951." In Making Broadway Dance, 77–105. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190631093.003.0005.
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Jerome Robbins’ surpassing of de Mille as the primary and most influential choreographer of his period is acknowledged. His training with Gluck Sandor and actors from the Group Theatre exposed him to Constantin Stanislavski’s early acting methods and his creative years at Camp Tamiment honed a brand of humor that he would use throughout his Broadway career. I consider Robbins first musical, On the Town (1944), developed from his ballet Fancy Free (1944), in the context of de Mille’s Broadway success and argue that he was at first imitative of her but ultimately found his voice and surpassed her in terms of success and output. The chapter includes analysis of selected Robbins’ choreography in what I consider the first phase of his Broadway career: On the Town (1944), Billion Dollar Baby (1945), High Button Shoes (1947), Look, Ma, I’m Dancin’! (1948), Miss Liberty (1949), Call Me Madam (1950), and The King and I (1951). I explore how Robbins developed a system for creating dance in musicals that employed the early acting techniques of Constantin Stanislavski as well as Lee Strasberg’s Method Acting. Both techniques embraced theatrical realism and informed Robbins’ creation of dances that were seamlessly embedded into musical theater librettos. His meticulous attention to the where, when, and why of his dance creations and his comic sensibility established a model for the generations of choreographers that followed him.
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Balme, Christopher. "Theatre and Globalisation: Theoretical and Historical Dimensions." In The Oxford Handbook of the Global Stage Musical, 45—C1P83. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190909734.013.2.
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Abstract The first section of the essay argues that theatrical globalisation begins in the second half of the nineteenth century with the rapid expansion of transportation, trading, and communication networks. It discusses some definitions of globalisation, especially its influential variant, glocalisation, and how we can use these terms in a theatrical context. It draws on David Singh Grewal’s notion of standardisation as a prerequisite for networked globalisation. The essay proposes that we look at theatrical globalisation from the perspective of ‘institutions in motion’, that is, the transferral of theatrical practices in different cultural environments. The global diffusion of Stanislavsky’s ‘method’ is a case in point. The main part of the chapter revisits Peter L. Becker’s influential theory of cultural globalisation and reformulates it under the heading ‘the five faces of theatrical globalisation’: marketisation, musicalisation, festivalisation, mediatisation, and musealisation. The essay demonstrates how these phenomena can be applied to current developments, especially in but not restricted to musical theatre.
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Atkins, Joseph B. "Zelig in La La Land." In Harry Dean Stanton, 63–76. 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.