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Relevant bibliographies by topics / Stanislavsky method

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Academic literature on the topic 'Stanislavsky method'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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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 (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 ha

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Merlin, Bella. "Which Came First: The System or ‘The Seagull’?" New Theatre Quarterly 15, no. 3 (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 failu

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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 (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 Stanisla

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Volkova, Viktoria. "Stanislavsky’s Legacy: From Vasily Toporkov to Oleg Yefremov and Oleg Tabakov." New Theatre Quarterly 40, no. 2 (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 t

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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 (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. T

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Cojan, Daniela. "The Birth and Evolution of Stanislavsky’s Method." Theatrical Colloquia 7, no. 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

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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 (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

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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”, “radia

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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 (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 Action

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Tcherkasski, Sergei, and Сергей Черкасский. "The System Becomes the Method: Stanislavsky—Boleslavsky—Strasberg." Stanislavski Studies 2, no. 1 (2013): 97–148. http://dx.doi.org/10.1080/20567790.2013.11428597.

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Dissertations / 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.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 198-203). Also available for download via the World Wide Web; free to University of Oregon users.

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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 tec

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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 groun

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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 groun

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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 eq

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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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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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Made available in DSpace on 2016-12-08T16:52:09Z (GMT). No. of bitstreams: 1 laedio.pdf: 1928778 bytes, checksum: 517cc5b1e67ad609534e5970f8233042 (MD5) Previous issue date: 2011-08-25<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>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

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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-base

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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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Books on the topic "Stanislavsky method"

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MERLIN, BELLA. Konstantin Stanislavsky. Taylor & Francis Group Plc, 2004.

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MERLIN, BELLA. Konstantin Stanislavsky. Taylor & Francis Inc, 2003.

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Gorchakov, N. M. Stanislavsky directs. 3rd ed. Limelight Editions, 1994.

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Blumenfeld, Robert. Stagecraft: Stanislavsky and external acting techniques : a companion to using the Stanislavsky system. Limelight Editions, 2011.

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Parke, Lawrence. Since Stanislavski and Vakhtangov: Themethod as a system for today's actor. Acting World Books, 1986.

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Benedetti, Jean. Stanislavski. Methuen, 1988.

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Gordon, Mel. Stanislavsky in America: A workbook for actors. Routledge, 2009.

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Gordon, Mel. The Stanislavsky technique: Russia : a workbook for actors. Applause Theatre Book Publishers, 1988.

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Pitches, Jonathan. Science and the Stanislavsky tradition of acting. Routledge, 2006.

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Anna, Migliarisi, ed. Stanislavsky and directing: Theory, practice, and influence. Legas, 2008.

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Book 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. 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. Routledge, 2013. http://dx.doi.org/10.4324/9780203112304-22.

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

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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. Routledge, 2014. http://dx.doi.org/10.4324/9781315059839-7.

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

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

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Gennaro, Liza. "Jerome Robbins on Broadway: 1944–1951." In Making Broadway Dance. 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. 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. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180106.003.0006.

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

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