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1
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.
10
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.
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Mezhenin, Anton, and Yuliya Tsyvatа. "Specificity of the actor's skill in the context of post-dramatic theater productions." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 329–33. http://dx.doi.org/10.32461/2226-3209.2.2021.240114.
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The purpose of the article is to identify the features and determine a promising theoretical and practical approach to acting in the context of the specifics of post-dramatic theater. Methodology. An analytical method was applied to identify domestic and foreign scientific works on the theory of post-dramatic theater; the method of systems analysis and synthesis, thanks to which the approaches and methods of actor's mastery developed by K. Stanislavsky are considered in the context of dramatic and post-dramatic theater, with their inherent originality; the method of historical and cultural analysis and the comparative method, on the basis of which the differences in acting in the performances of dramatic and post-dramatic theater are revealed. Scientific novelty. The skill of the actor of the post-dramatic theater was investigated; the features of acting perception and practice of playing in performative practice are revealed; a promising theoretical and practical approach to acting, corresponding to the specifics of post-dramatic theater, is proposed; the expediency of using certain principles of the Stanislavsky system in search of new methods of acting by an actor in post-dramatic theater has been proved. Conclusions. A wide range of types of theatrical practices at the present stage of the development of the performing arts has led to the transformation of acting perception and acting. The post-dramatic theater offers the viewer not only the image of the hero but also the special existence of the actor, which is defined as “presence” and is the result of work on the material, the theme of the performance. In the context of the specifics of post-dramatic theater, in our opinion, a proactive approach is appropriate, providing for the rejection of prejudices and adherence to a single system, discourse or practice and cultivates a critical awareness of acting as a multiple and variable. This approach will contribute to the implementation of a certain set of actions - historically and procedurally considered and comprehended by the actor "absolute" while being part of the plurality. For example, the study showed that for the development of the actor's skill in certain types of post-dramatic theater, it is extremely useful to use certain aspects of the Stanislavsky system, in particular, the development of an actor's inner creative state of body and mind becomes extremely important.
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HAIKAL, M., SULAIMAN SULAIMAN, and SAADUDDIN SAADUDDIN. "Pemeranan Tokoh Comol dalam Naskah Lautan Bernyanyi Karya Putu Wijaya dengan Metode Akting The System Stanislavsky." Creativity And Research Theatre Journal 3, no. 1 (May 30, 2021): 1. http://dx.doi.org/10.26887/cartj.v3i1.2136.
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PABSTRAKemeran tokoh Comol dalam naskah Lautan Bernyanyi karya Putu Wijaya merupakan penciptaan seni peran yang dilakukan untuk mewujudkan tokoh Comol oleh pemeran pada sebuah pertunjukan seni teater, perwujudan tokoh dimulai dengan menganalisis struktur dan tekstur tokoh Comol dalam naskah Lautan Bernyanyi. Penciptaan tokoh Comol menggunakan metode The system yang digagas oleh Stanislavsky dengan meliputi beberapa aspek seperti psikologi, fisiologi dan sosiologi. Hasil dari analisi tekstur dan struktur menjadi pedoman bagi pemeran untuk mewujudkan tokoh Comol dalam naskah Lautan Bernyanyi karya Putu Wijaya. ABSTRACTThe role of the Comol character in Putu Wijaya's Lautan Bernyanyi script is the creation of a role-playing art to embody the Comol character by performing theatrical art performances, and the realization begins by analyzing the structure and texture of the Comol character in the Lautan Bernyanyi script. The creator of the Comol character uses The system method, which Stanislavsky initiated by covering several aspects such as psychology, physiology, and sociology. The texture and structure analysis results serve as guidelines for the cast to embody the Comol character in Putu Wijaya's Lautan Bernyanyi script.
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Zvereva, Natalya А. "About Maria Osipovna Knebel and her method of effective analysis." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2023): 167–86. http://dx.doi.org/10.35852/2588-0144-2023-1-167-186.
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May 2023 marks the 125th anniversary of Maria Osipovna Knebel’s birth. On the eve of this anniversary, Natalya Alekseevna Zvereva, Knebel’s student, outstanding theatre teacher, professor at the Department of Drama Directing at GITIS, Honored Art Worker of the Russian Federation, and Ph.D., shared her memories of working together with Maria Osipovna in 1971. It happened during the production of the play by A. N. Ostrovsky, “Talents and Admirers,” at the Moscow Academic Theatre named after Vl. Mayakovsky. Maria Knebel called this performance the most beloved of all the productions staged by her. Using the example of Knebel’s work on this production, the article traces some unique features of her rehearsal and pedagogical approach. Her method of work was based on an effective analysis of the play. She obtained this last brilliant discovery of K.S. Stanislavsky (as Knebel herself described it) directly from him. Maria Knebel devoted many years of her life to this method’s development, along with its introduction into theatrical practice and pedagogy.
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Marchenko, Herman V. "THE VAKHTANGOV SCHOOL: CREATION OF TEACHING METHODS." Scientific and analytical journal Burganov House. The space of culture 17, no. 3 (September 10, 2021): 50–64. http://dx.doi.org/10.36340/2071-6818-2021-17-3-50-64.
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The article presents information about the faithful disciple of Evgeny Vakhtangov, Boris Zakhava. For 50 years, Boris Zakhava continuously led the Shchukin Theater Institute. He was, perhaps, the only one of Vakhtangov’s students who, having come to the Studio from the first days of its foundation, remained faithful to the theatrical principles of Evgeny Vakhtangov. Also, the article examines the period of creation of Zakhava’s method of teaching acting at the Shchukin Theater Institute. A significant role in the formation of Zakhava as a theorist and teacher was played by his teacher, Evgeny Vakhtangov, a student of Stanislavski. Vakhtangov mastered the method of Stanislavski’s work with an actor and became the head of the Mansurov Studio, continued to search for new theatrical techniques, influencing the formation of Zakhava’s creative personality. In his practice, Vakhtangov moved away from the realism of the early Moscow Art Theater and created his direction, which he called fantastic realism. Thanks to his pedagogical talent, many wonderful actors appeared, who were able to achieve the independence of the Studio and organise not only the theatre named after their teacher but also to preserve the theatre school based on the principles of the work of Evgeny Vakhtangov. The name of Zakhava is not often heard in the theatre environment at present; however, his contribution to the preservation of the Vakhtangov Theater and the Shchukin Theater Institute is fundamental. The educational system within the walls of the Shchukin Theater Institute was created based on the practical works of Stanislavsky (first year) and the theoretical and practical works of Zakhava, who preserved in his memory the precepts of his teacher, Evgeny Vakhtangov. Work on creating a methodology for acting was actively going on in the 1930s. For several years, Zakhava was engaged in developing the education system, engaging Vakhtangov’s direct students in pedagogical activities at the school. And as a result, a unified educational system with specific goals and objectives, as well as a set of exercises for each semester was created. Zakhava contributed to the creation of one of the best theatre educational institutions in the country. His activities were entirely directed into pedagogy to help students master the Vakhtangov method of education.
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Akhreev, Anatoly V. "The methodology of “active analysis” and the heritage of the Leningrad theatre school: The Third “Knebel readings”." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 3 (2022): 175–92. http://dx.doi.org/10.35852/2588-0144-2022-3-175-192.
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The article provides an overview of the annual scientific conference “Knebel Readings”. In 2022, dedicated to the Leningrad Theatre School, its methodology and educational process. The origins of stage methodology are set in the directorial and pedagogical work of K. S. Stanislavsky, V. I. Nemirovich-Danchenko, E. B. Vakhtangov, V. E. Meyerhold, in the legacy of A.D. Popov and G.A. Tovstonogov. M.O. Knebel largely determined the theoretical and pedagogical ways of developing the methodology of the Russian theatre school in the second half of the 20th century. The work of directors and theatre-teachers of Leningrad in the 50s – 80s of the last century (B.V. Zon, Z.J. Korogodsky, G.A. Tovstonogov, A. I. Katsman and others) formed the basis of an outstanding phenomenon in the history of the Russian theatre – the Leningrad theatre school, which is still existing and developing in St. Petersburg. The report of V.M. Filshtinsky focuses on his personal understanding of the theoretical heritage of Stanislavsky–Nemirovich–Knebel, with whom he conducts a research dialogue in his new book. N.A. Kolotova, in her speech, made an analysis of methodological principles of teaching an actor by B.V. Zon (along with a historical report of his pedagogy formation). V.A. Bogatyrev shared his personal memories of his learning in the group of Z.J. Korogodsky and outlined the methods of his master, which continued and developed the methodological system of B.V. Zon. During the conference, a topical discussion took place. It was initiated by A. A. Barmak. The disturbing, from his point of view, methodological context of modern conceptual theatre, built by young directors and a new generation of theatre teachers, requires an appeal to the origins of the method of effective analysis, as well as a careful study of Russian theatre education. At the end of the conference, a review of the literary heritage of the Leningrad theatre school was made.
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Aleksandrova, M. E. "THE EASTERN PRACTICES AS ONE OF THE SOURCES OF N. DEMIDOV'S METHOD." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, no. 92 (2023): 63–71. http://dx.doi.org/10.37313/2413-9645-2023-25-92-63-71.
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The practice of Demidov's sketches is widely used in theatrical pedagogy today. N. V. Demidov had a medical education, studied Tibetan medicine and suggested K. S. Stanislavsky to use the psychophysics work technics in acting accumulated in yogic teaching. In his own method, N. V. Demidov was looking for ways to actively include irrational mechanisms of the psyche in the process of acting, which is the basic of the desired state of creative inspiration, which is a special state of consciousness and is actively studied by modern science. The author of the article analyzes the connections between Demidov's approach and some provisions of the spiritual and bodily teachings of the East, which are the basis of work with psychophysics and have been attracting the attention of theater teachers for many years. Working with consciousness is one of the main directions explored by Eastern teachings, and it was thanks to acquaintance with Tibetan medicine, yoga, N. V. Demidov managed to get close to the subtle, elusive layers of the psyche and provoke the nature of the artist to a unique, free, creative existence on stage. It is in the XXI century that the Demidov's approach becomes extremely popular.
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Hordieiev, Serhiy. "THEATRICAL AND PEDAGOGICAL PRINCIPLES OF V. I. TSVIETKOV IN THE FORMATION OF THE UKRAINIAN ACTOR AND DIRECTOR." Aspects of Historical Musicology 25, no. 25 (December 31, 2021): 192–220. http://dx.doi.org/10.34064/khnum2-25.09.
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Vsevolod Ivanovych Tsvietkov (1918–2011) belongs to the famous artists of Kharkiv region. His name is associated with an extremely fruitful period in the activities of the leading theatres and theatre universities, in particular, O. S. Pushkin Kharkiv Drama Theatre, Kharkiv Institute of Arts (now – I. P. Kotlyarevsky Kharkiv National University of Arts) and Kharkiv State Academy of Culture. V. I. Tsvietkov’s acting, directing and pedagogical activity dates back to 1937–2005, he acted as a teacher in the 1960s. The background of V. I. Tsvietkov’s pedagogical principles was, first of all, his own creative experience gained during acting and directing, theoretical and practical achievements of outstanding masters from the school of psychological theatre (K. Stanislavsky, V. Petrov, A. Kramov, F. Shishigin, G. Tovstonohov). In the critical heritage dedicated to V. Tsvietkov, the problems of the stage originality and pedagogical creativity based on the specifics of his directorial views, are revealed only fragmentary (Sedunova, 2005; Kolchanova, 2015; Botunova, 2017). The stage and pedagogical activity of the artist has not yet become the subject of in-depth scientific research, so this article is the first attempt in this direction. The author of the article sets the purpose to systematize, generalize, supplement and expand information about the work of V. Tsvietkov and his principles of educating acting and directing youth, with the aim to reproduce his image of an actor, musician, director, and theatre teacher, addressing, first of all, to personal archival materials and previous works. V. Tsvietkov’s scenic searches are rooted in the creative discoveries of outstanding masters of Ukrainian and foreign theatre of the XX and the beginning of the XXI century, his “personal” page of aesthetic, professional, methodological research in the field of acting and directing, which are organically continued in theatrical pedagogy. The main part of the article examines the stages of formation and creative activity of V. Tsvietkov as an actor, director and theatre teacher. Summed up, that V. Tsvietkov, a talented director who was long seeking his way in directing theatre and cinema, methods of upbringing the actor, and finally found it, basing on the pedagogical discoveries of K. S. Stanislavsky, staged 80 plays, brought up a whole galaxy of Ukrainian actors, directors, theatre teachers, who nowadays successfully work in national theatres and abroad. Based on the analysis of the creative and pedagogical work of V. Tsvietkov, his contribution to the formation and development of the Ukrainian theatre school is determined. The artist successfully embodied the traditions of K. Stanislavsky and heuristic discoveries in the psychology of creativity in his directing and pedagogical method. Not least important for V. Tsvietkov’s creative method was the experience of joint pedagogical work with the luminaries of the Ukrainian theatre, who passed the school of Les Kurbas on educating a “synthetic actor”. V. Tsvietkov’s multifaceted scenic and pedagogical activity, which unfolded in 1937–2005, significantly expanded creative possibilities of acting and directing, and became an integral part of domestic theatrical culture.
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Arkadin-Shkolnik, Oleksandr. "Improvisational self-feeling in the upbringing of actor’s and stage directing mastery." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 121–35. http://dx.doi.org/10.34064/khnum1-50.09.
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Formulation of the problem. Relevance of the theme, the aim and material of research. The article deals with the related concepts of improvisation and improvisational self-feeling, state of health that is a special internal state that allows the actor to fully demonstrate his talent, to get rid of stamps, physical and psychological clamps and mechanistic “playing on cothurni”. The theme of improvisation in artistic creativity in general and in stage art in particular, undoubtedly, can be attributed to the circle of “eternal” ones, which over the time not lose their relevance and can acquire new sounding and coloring. Since improvisation is the basis and an integral part of a theater and scenic playing. This clearly demonstrates, for example, the existence from the very origins of the stage art of its separate branch – the theater of improvisation – which has experienced a number of transformations from the Antiquity to our time, ups (such as the Renaissance comedy dell arte) and downs, and reviving today in the new experimental forms. Or the modern flourishing of the “directorial” theater, where improvisation often becomes a full-fledged component of stage action. Anyway, in the works of almost all theatrical geniuses of the world, the greatest experimenters and reformers of the scene we can see the idea of finding the perfect actor, free, independent-minded, an ideal “actor-creator”. In the field of our attention – the theoretical works of theatrical luminaries of the twentieth century, the time of the formation of a free theater – K. Stanislavsky, B. Brecht, E. Vakhtangov and others. Based on this heritage, modern masters of the scene find their own motives and develop them in their work and pedagogy. The study aims to summarize the main methods of developing improvisational skills and conditions for achieving the state of improvisational well-being in the practice of an actor and stage director. Results of the study. In the domestic theater of the new generation, the improvisational method was actively developed and promoted by K. S. Stanislavsky and his follower E. B. Vakhtangov. They relied on the principles and mechanisms operating in the Italian comedy dell’arte; however, the transfer to the new ground and reality has fundamentally changed the principles of improvisation, which resulted in the unique phenomenon – the synthesis of the psychological theater with improvisational one. Rejecting the outdated kind of improvisation, Stanislavsky brought up this method to technical perfection in tandem with the inner spiritual fullness of the actor. Stanislavsky’s new interpretation of this idea was based on the fact that a person (and, therefore, the actor on the stage) cannot repeat any actions twice exactly the same. Thus, if an actor performs his actions on the stage absolutely truthfully, then each rehearsal and performance will be held in free improvisation or, as they say, in “improvisational well-being”. E. Vakhtangov, the successor of the great master, considered the same. The best proof of his ideas judgments is the play “Princess Turandot”, which from the beginning to the end was created in the form of an improvisational theatrical performance. For successful improvisation work it is necessary the actor need to not expect what is happening. For example, actor’s etudes educate the unexpected reaction of the actor in the perception of the current event, which inevitably leads to the transparency and truthfulness of the role picture. The methodological application of B. Brecht’s formula, entitled “not A”, is directed at this: the actor, showing what he does, in all-important places should make the viewer understand, what he does not. He plays so that we could see the alternative as clearly as possible, hinting on the other plot possibilities when the piece gives only one of the possible options. For the successful upbringing of the “ideal” type of actor mentioned above, it is first and foremost important to apply game, training methods of development not only to the physical form, but also to the imagination, the flexibility of the mind and the wit of an actor. Therefore, only an integrated approach in teaching methods and the rehearsal process is able to develop the creative potential of an actor and direct it to the necessary course. It was this approach that was used during this study in practice, which resulted in the birth of such a methodological technique as “blind rehearsals”. Before the rehearsals of the performance were started, a long preparatory period was held on the Stanislavsky system, and after a deep “intelligence research” and mastering the text, the actors began to work, being “blind» absolutely. For almost a month, the actors worked at the rehearsals with a blindfold, which sharpened their perception of the text, the scene and the partner. Left alone in the dark with the material, the actors showed a brilliant result in studying of it. Conclusions. The ability to improvise or “improvisational abilities” should be attributed to the general abilities of the person, which complement the special creative abilities, are subject to improvement and are mandatory for the development of future actor and director. Making use of the innovation in the psychology of creativity, actors-masters permanently update a system of exercises, always bringing in these game images and associations. This helps to avoid of mechanistic and artificial methods. In addition, it is necessary to introduce a set of plastic musical exercises that are the beginning of a lesson for students and develop in such important forms of theater education as a musical-plastic sketches, fragments, and so on. Thus, an integrated approach to work on improvisation-being of students prepares them for the next step in the mastery of acting and future work in the theater. The developed sense of improvisation, in our opinion, is the basis upon which all other features of actor’s personality will put on. That is why we consider the most difficult task of theater pedagogy to see, discover and apply the student’s creative abilities. Modern theatrical practice implies that the actor is free within the overall outline of the role that the director offers him. Modern stage direction encourages actors to mobility, a variety of creative solutions, independent thinking – that is, to improvise. It is that opens wide research prospects within the chosen theme.
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Collard, Christophe. "Living Truthfully: David Mamet's Practical Aesthetics." New Theatre Quarterly 26, no. 4 (November 2010): 329–39. http://dx.doi.org/10.1017/s0266464x10000631.
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Although better known as a playwright and film-maker, David Mamet started his artistic career as a teacher of acting. In this essay Christophe Collard contextualizes the influences, evaluates the implications, and criticizes some of the implementations of his ‘Practical Aesthetics’ by bridging the divide between Mamet's aesthetic theory and its concretization in practice. Often mistaken for a disingenuous appropriation of the so-called ‘Stanislavsky System’, Mamet's derived ‘Method’ arguably is more functional than original. Nevertheless, Collard argues that his confusion between various interpretations of these precepts is deliberate and serves primarily a reflexive purpose, as illustrated here with an analysis of Mamet's rehearsal play A Life in the Theatre. Christophe Collard works as a research fellow in American theatre and drama at the Vrije Universiteit Brussel (Free University of Brussels), where he recently completed a doctorate about media and genre crossings in the work of David Mamet.
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Do Egito, Tinatin. "Ignatius Loyola and Konstantin Stanislavsky in the interpretation of Sergey Eisenstein: from mystical ecstasy to editing." St. Tikhons' University Review 103 (October 31, 2022): 87–107. http://dx.doi.org/10.15382/sturi2022103.87-107.
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The article examines the point of Soviet art's 1920-1930 influence on secular processes in society. The model of the psychology of art proposed by L. Vygotsky, based on Marxist dogmatics, becomes the starting point for the search of creative elite, particularly, for the film director and art theorist Sergei Eisenstein. They are brought together by a common understanding of art as a sign system aimed at awakening strong emotional disturbances in a person, the culmination of which is by Eisenstein's opinion ecstasy, from Vygotsky's point of view - catharsis. Scientists of the Vygotsky's circle, which also includes Eisenstein, study the phenomena of expanded consciousness, looking for ways to influence an individual, including through the practices of art. The article focuses on Eisenstein's interest in the topic of mystical ecstasy. In his article “Stanislavsky and Loyola”(1937), considered in detail, there's set a parallel between the spiritual practices of medieval ascetics and acting exercises according to the system of K. Stanislavsky. Eisenstein introduces the experience of ecstatic practices, drawn from the exercises of Ignatius Loyola, into the Dionysian art renewed by the revolution. In particular, using the method of editing as a psychotechnics, S. Eisenstein effects the mind of a viewer, inspiring him with utopian ideas of social justice, dating back to classical Marxism.. Avant - garde practices of Soviet art 20-30 years of the 20th century, embodied by S. Eisenstein in cinema, are interpreted according to the tradition of J. Wach – P. Tillich, respectively, as pseudo- and quasi-religious, as well as in the context of the theory of "atheistic fideism" in the mode of building an "atheistic church" as part of the secularization process. Special attention is paid to the synthesis of science and art. A version is put forward about the implicit nature and secular implications of this large-scale phenomenon, expressed in the transfer of native religious functions to related areas. For the first time in historiography, S. Eisenstein is considered in his quasi-religious persona.
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Yushkova, E. V. "Review of Partan, O. (2017). Vagabonding masks. The Italian commedia dell’arte in the Russian artistic imagination. Boston: Academic Studies Press. 294 pages." Voprosy literatury, no. 6 (February 7, 2019): 396–401. http://dx.doi.org/10.31425/0042-8795-2018-6-396-401.
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In her book, Olga Partan touches upon theatrical and literary history from the early 1600s, her detailed analysis of certain renowned works of literature and dramatizations revealing their new aspects. The interdisciplinary method of her work enables Partan to create a study which comfortably accommodates Trediakovsky with Gogol, and Dostoevsky; Sumarokov with Block, and Bely; and even Alla Pugachova with Vladimir Nabokov, side by side on its pages. The author of Vagabonding Masks examines their 300-year old adventures in Russian culture, from the times of Peter I. She believes that the Italian genre became part and parcel of Russian culture from the moment when the first Italian theatrical companies were invited to perform at the court of Empress Anna Ioannovna. The book follows a chronological order: starting from the first Russian theatres and all the way to Giorgio Strehler’s tour of the country in the early 2000s: a powerful boost to Modernist theatrical art inRussia, as opposed to the deeply rooted Stanislavsky traditions.
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Jiawen, Xu, and L. P. Morina. "The Influence of the Bertolt Brecht System on Traditional Chinese Theater." Discourse 10, no. 1 (February 23, 2024): 5–14. http://dx.doi.org/10.32603/2412-8562-2024-10-1-5-14.
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Introduction. The article is devoted to the phenomenon of modern Chinese theater and aims to explore the ways of its evolution – from imitation of European avant-garde forms of theatrical art to the formation of an original artistic language. An important goal is also to identify the factors that have determined the unique aesthetic and meaningful characteristics of modern Chinese theater.Methodology and sources. As a result of the application of the comparative analysis method, the article compares the theatrical concepts of Ibsen, Stanislavsky and Brecht, which influenced the image of modern Chinese theater.Result and discussion. The special role of the European theatrical avant-garde is shown, namely, the concept of Brecht's dialectical drama, which became widespread in China at the end of the XX century. Over a twenty-year period (from 1959 to 1979), three so-called «Brecht booms» took place in China, radically transforming Chinese traditional theater. However, despite the high popularity of Brecht's ideas, the Chinese Theater did not turn into a literal translator of the European avant-garde, but formed its own artistic style based on traditional structures of audience perception. The key role in this process was played by the national cultural context – socio-political and mental – which determined the specific forms of adaptation of the cultural meanings of the European theater. The history of Chinese avant-garde theater lasts for more than forty years and began in the early 1980s. After experiencing a period of direct borrowing, Chinese theatrical figures came to rethink the European heritage in the context of their own culture. As a result, it was the middle path of Chinese theater development that turned out to be the most productive – a path that absorbed the outstanding artistic ideas of Stanislavsky and Brecht, the modern Western avant-garde, but also without rejecting traditional artistic principles. This is how Chinese theatrical culture has developed with its own unique style.Conclusion. The 20th century became the era of the interchange of Eastern and Western theatrical traditions, which largely shaped the world cultural landscape, in which the interaction of Brecht's theory and traditional Chinese culture forms a special topos.
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Mashkov, Vladimir L., Alexandra G. Dolgikh, Sofiia V. Golik, and Marina V. Samuseva. "METHODOLOGICAL FOUNDATIONS OF THE PSYCHOLOGY OF THEATRICAL ACTIVITY." Moscow University Psychology Bulletin, no. 4 (2022): 179–99. http://dx.doi.org/10.11621/vsp.2022.04.08.
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Background Th e article reveals acting as an activity, the defi nition of the method of “psychophysical actions” in the context of mastering the acting role as a process of development of higher mental functions of actors. Objective. Th is article attempts to off er a psychological interpretation of the technologies of acting presented in the works of K.S. Stanislavsky, as well as his followers V.O. Toporkov, M.A. Chekhov, E.B. Vakhtangov, V.E. Meyerhold, M.O. Knebel, etc. from the point of view of L.S. Vygotsky’s cultural-historical approach, A.N. Leontiev’s theory of activity, psychological theories of communication and personality. Methods. The authors of the article analyze stage communication and personality development during the development of the role from the point of view of the basics of social psychology and personality psychology, and also reveal scientifi cally based psychological interpretations of the acting profession as a conscious continuous activity aimed at achieving the credibility and organic existence of an actor on stage. Results. Th e results of the theoretical analysis allow us to identify the mediation of theatrical activity by psychological patterns and technologies of analysis of the proposed circumstances of the role in the profession of the artist. Conclusion. As a conclusion, a reasoned position is given on the need for scientifi c study of acting using the methodology of psychological science in order to develop the most eff ective method for the development of the acting profession as a process of formation of higher mental functions and the choice of adequate psychophysical actions in the proposed circumstances of the role.
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Martynova, Yu A., and D. E. Martynov. "The Third Moscow Gymnasium, Nikolay Ivanovich Kareev and Alexander Vasilievich Zhivago." Uchenye Zapiski Kazanskogo Universiteta Seriya Gumanitarnye Nauki 165, no. 1-2 (October 24, 2023): 143–54. http://dx.doi.org/10.26907/2541-7738.2023.1-2.143-154.
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This article deals with the memoirs of A.V. Zhivago (1860–1940), a famous Moscow doctor, about the years he spent at the Third Moscow Men’s Gymnasium. He came from the highly cultured RyazanMoscow merchant family and was related to the Alekseev family (Zhivago was a lifelong friend of K.S. Stanislavsky). Zhivago’s younger sister was married to A.P. Chekhov’s attending physician in Germany. His great uncle was the first Russian business partner of Heinrich Schliemann, the future archaeologist. In 1873–1877 and 1878–1879, N.I. Kareev (1850–1931), a distinguished historian, taught history to Zhivago at the gymnasium. Kareev’s methodical attitude and the charm of his personality instilled in Zhivago a deep respect for the historical past and a desire to understand the material sources: his pedagogical method assumed the involvement of older students in scientific activities, as well as the use of illustrative materials and additional literature; he also argued that political and cultural history is inseparable from the history of art. Zhivago’s solid education in the field of historical and museum disciplines is thus to Kareev’s credit. This background enabled him to work as a lecturer at the Department of Coptology and Ancient Egypt of the Moscow Museum of Fine Arts (now the Pushkin State Museum of Fine Arts) from 1919 to 1937.
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Faiz Bolkiah, Muhammad, and Amalia Sabila. "The Process of Deepening the Character in Dokudrama “Film Perjuangan K.H. Muhyiddin”." Jomantara: Indonesian Journal of Art and Culture 1, Vol. 1 No. 1 (January 31, 2021): 65–86. http://dx.doi.org/10.23969/jijac.v1i1.3432.
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Dokudrama is a non-fiction film that presents a story based on a true story. Besides being an entertainment medium, a film can also be a learning medium since film provides a good story content and messages. Therefore, it needs an actor as a subject to convey the message of the story that the director wants to deliver. To play a character in a movie, an actor must be able to delve into whatever character is given. Unlike documentaries, dokudrama films use actors as the main subject. An actor in a docudrama should be able to play a subject who has ever been real. An actor in a dokudrama film should be able to play a good role without removing the hallmarks of the original subject. A deepening process in a role, making every actor have their own way in learning the character. The differences in studying and delving into these characters is the focus of this research by using qualitative research methods, by re-describing the results of the researcher's analysis with the main theory. To create this study, the researchers used the presentation theory from Stanislavsky. The acting theory of this presentation has been used since the world of casting art entered Indonesia. This research aim is to find out the character deepening conducted by actors in the dokudrama film “Perjuangan K.H. Muhyiddin” based on the Stanislavsky’s acting presentation theory. Keywords: Dokudrama, Qualitative, Casting, Stanislavsky, Biography
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Zavyalova, Anna E. "The Works of I.S.Turgenev in the Art of M.V.Dobuzhinsky." Vestnik of Saint Petersburg University. Arts 11, no. 2 (2021): 204–23. http://dx.doi.org/10.21638/spbu15.2021.203.
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The article is the first to examine the issue of the influence of Ivan Turgenev’s works on the art of Mstislav Dobuzhinsky not only in scenography, but also in illustrations and vignettes. Thanks to the artist’s memoirs, it was established that Turgenev’s works did not arouse his creative interest. It is concluded that Dobuzhinsky read the novels The Noble Nest and Smoke in his youth. In the design of Turgenev’s plays A Month in the Village; Breakfast at the Leader; The Workman; Where it is thin, there it is torn; and Provincial for the Moscow Art Theater, Dobuzhinsky turned to the proposal and choice of Konstantin Stanislavsky. The author used a comprehensive method that combined a formal-stylistic analysis of the sketches of sets and costumes, illustrations and vignettes, with a source-based analysis of the artist’s diaries and letters. It was revealed that the silhouette-figure “Girl with Flowers” can be attributed to the complex of these vignettes. The article is the first to address the issue of Dobuzhinsky’s appeal to the art of the Italian Renaissance. It is established that the Cathedral of Santi Giovanni e Paolo in Venice influenced the image of the greenhouse in the sketches of the scenery for the play based on the play A Month in the Village, while the portraits of Pietro della Fancesca and Sandro Botticelli influenced the portrait of actress Lydia Koreneva.
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Kryvosheieva, O. V. "Imagination as one of the key elements in the formation of a future actor psychotechnics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 299–311. http://dx.doi.org/10.34064/khnum1-56.19.
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Background. One of the most important questions in the acting profession is how to educate the psychophysical apparatus of the actor, what it consists of, what exercises will be useful and will be able to develop the necessary psychophysical qualities. Therefore, the theatrical teachers often turn to the sciences, which study the human, to be able to rely not only on the personal experience and on theoretical works of famous theatrical figures. Therefore, K. Stanislavsky creating theory of art turned to experimental psychology, the theory of conditioned reflexes by I. Pavlov. K. Stanislavsky sought to substantiate scientifically his system, to analyze creativity based on “brain physiology”, to study objectively higher nervous (mental) activity. One of the basic elements of the actor’s psychophysics is imagination, which remains by far one of the least studied. Moreover, the first studies of the “imagination” in such science as neuroscience began only in the second half of the XX century. Today, it is important to pay attention to the discoveries that take place in the related sciences in order to be able to understand deeper how a particular exercise affects the psychophysics of a future actor. There is a small amount of contemporary work devoted to the theoretical substantiation of the development of the psychophysical qualities of the actor. Among them the writings by famous theater educators Uta Hagen (“Play as Life”) and Ivana Chubbuk (“Chubbuk’s Actor Technique”) are, which consider the concept “imagination” in relation to other elements of actor psychotechnics, as one of the tools and ways of creating the role. The American actor and a teacher Gavin Levy has created an interesting book “275 Acting Games: Connected” presenting various exercises connected with developing of imagination. Professor of Acting at the University of California Bella Merlin in her work “Acting: Theory and Practice” proposes to develop imagination through a variety of games and improvisation also. Attempts to comprehensive study of actor training, the impact of exercise on the imagination and psychophysics of the actor as a whole are described in the works of M. Alexandrovskaya, S. Gippius, N. Rozhdestvenskaya, V. Petrov, and L. Gracheva, whose experimental results was used in this study, The objective of this paper is to consider the concept of “imagination” in the complex and interaction with other elements of actor psychophysics, using the latest scientific discoveries about human. A complex methodology was used in the work: analysis and synthesis methods that allow to explore a category such as “imagination”, separately and in conjunction with the elements of actor psychophysics; methods of systematization and generalization – to determine the key theoretical provisions of the study in the context of understanding the pedagogical experience of modern domestic and foreign theater schools; method of historical and cultural analysis – in the course of consideration of works on the theory of theater. Results. The concept of “imagination” in acting training is used quite often, but there is no specific answer to the question – whether imagination trains or not. Professor of Russian State Institute of Performing Arts Larissa Gracheva conducted an experiment to help answer this question. Students were asked to recall and relive in their imagination the acute emotional situation that was in the life of each participant in the experiment. A total of 30 student actors and 20 economics and theater students were involved. This experiment affirms the influence of special acting exercises on developing the imagination, because 95 % of participant-actors demonstrated body physical reactions. This concept is considered the paper in conjunction with other elements of actor psychotechnics, such as “visions” (after K. Stanislavskiy), affective and emotional memory, reaching truthful expressiveness on stage and muscular freedom. The chain of interaction between these elements is proposed and their interdependence is justified. The experiment answered the question of how imagination is dependent on “visions” and affective memory, what kind of exercises the future actors can train their imagination. Links has been established between imagination and muscular freedom. Recent discoveries of neuroscience have been used to answer the question of what is going on with the brain, when human being imagines something. Overall, the paper summarizes the current state of knowledge of the selected topic by discussing the findings presented in recent research papers that create an understanding of the theme for the reader. Conclusions. Training of “awakening the imagination” is a complex psychophysical process that can be developed only in combination with other elements of actor psychotechnics. Such complex approach will allow the actor to shape a completely harmonious personality. Imagination is based on visions that form and emerge from each person’s long-term memory. For each actor, these internal images will be unique. This proves that the use of imagination (substitution effect and affective memory) is quite personal and unique process. This approach causes an impression of truth of drama action and induces a strong emotional response. In turn, emotional reaction is first a muscular reaction of the body. Therefore, in acting training it is important to make exercises so as to harmoniously develop the psyche and physics of the actor using in plastic exercises imagination and vice versa, the physics reactions for the developing of imagery thinking.
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Bogart, Anne, and Maria Shevtsova. "Covid Conversations 2: Anne Bogart." New Theatre Quarterly 37, no. 2 (April 29, 2021): 103–18. http://dx.doi.org/10.1017/s0266464x21000014.
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Maintaining and nurturing an ensemble theatre have been Anne Bogart’s foremost concerns in these past near-thirty years since she and Tadashi Suzuki founded the Saratoga International Theatre Institute (SITI) in 1992. Suzuki had established the Suzuki Company of Toga (SCOT) in 1976, making a secluded mountainous landscape of Japan its home to this day. Bogart’s venture in the United States, although inspired by Suzuki’s model of a production-based troupe of high artistic standards that, at the same time, developed its unique training methods, by no means merely duplicates its predecessor. In this Covid Conversation, Bogart briefly maps a segment of SITI’s history, reflecting on the company’s inter-arts endeavours with differing dance idioms and its engagement with Greek tragedy. She discusses the effects of the Covid pandemic on her troupe, also interrupting its performances of The Bacchae at the Guthrie Theatre in Minneapolis. Her most recent opera production, Tristan and Isolde, was closed for the same reason at the Croatian National Theatre – a key work in her portfolio of nineteenth-century grand opera as well as contemporary avant-garde opera. An acclaimed theatre director, Anne Bogart runs and teaches the Graduate Directing Programme at Columbia University in New York. At the SITI summer school in Saratoga, she and the company have workshopped the Viewpoints method that she has elaborated from Mary Overlie’s six principles for theatre and dance training. Bogart’s international workshops have further developed her method. She is the author of A Director Prepares (Routledge, 2001) and of many influential books that include (with Tina Landau) The Viewpoints Book (Theatre Communications Group, 2004). The Art of Resonance is forthcoming (2021, Bloomsbury). Maria Shevtsova is the Editor of New Theatre Quarterly whose most recent book is Rediscovering Stanislavsky (Cambridge University Press, 2020). The following conversation took place on 27 August 2020, was transcribed by Kunsang Kelden, and was edited by Maria Shevtsova. It is followed by a short coda announcing the transition of SITI into a resource centre.
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Budanov, Vladimir Grigoryevich, and Tamara Andreevna Sinitcyna. "Quantum-synergetic ontology of generalized corporeality (Part III): psychosemantic language of theater, anthropological jazz." Культура и искусство, no. 12 (December 2020): 138–59. http://dx.doi.org/10.7256/2454-0625.2020.12.34793.
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This article is a continuation of the topic on methodology of generalized corporeality, which stems from the concept of quantum-synergetic anthropology, developed in the previous parts of the triptych. Ontologies of the states (functional bodies and subbodies of generalized corporeality), as well as temporal ontologies are viewed on the example of theatrical acting. The author structures an isomorphism of the well-known musical notation, and representation of the changing anthropological profile in form of a chord of the simultaneously activated “resonating” states of the actor. The article discusses the appropriateness of such musical metaphor, analogy between the freedom of actors’ improvisation, as the anthropological jazz characteristic to any performer, although to different extent. The classical style is even less versatile than jazz improvisation. The author draws parallels of such performances with works of the classics of theater directing, philosophy of acting, and communication of musicologists: K. S. Stanislavsky, A. A. Vasiliev, B. Latour, J. Huizinga, J. E. Berendt. A certain language of interpretation of acting is offered using the dynamic patterns of description of events in the course of the play. If these patterns are adequate to stage reality, which the author was trying to prove, they can be implemented in training the actors, staging performances, etc. This virtually led to creation of a new psychological technique that allows amplifying the acting skills. Moreover, such type of notational representation of actor roles allows archiving and decoding the director's intention using a fairly universal method.
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Tomilin, Dmitry Valentinovich, Maria Vitalievna Nosova, and Yevgeniy Anatolyevich Glazov. "International Festival of Theater Schools of the BRICS countries as an example of successful cooperation of the “five” in the sphere of humanities." Человек и культура, no. 2 (February 2020): 65–76. http://dx.doi.org/10.25136/2409-8744.2020.2.32060.
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This article describes the form of successful cooperation of the BRICS countries in the sphere of humanities. The subject of this research is the International Festival of Theater Schools of the BRICS countries, which is viewed as a festivity of creative youth that represents different cultures and performing arts of their country. The goal consists in characterization of the festival, which opens a unique opportunity for communication of youth from the BRICS countries, exchange theatrical traditions and experience, acquire new friends, and demonstrate their acting skills. The scientific novelty lies in the systematized material pertaining to the specificity of organization and hosting the International Festival of Theater Schools of the BRICS countries. It is proven that the international educational program in performing arts within the framework of the festival is the realization of artistic investments into the cultural life of the Russian Federation. The author’s special contribution consists in clarification of the fact that for the past ten years the BRICS countries have achieved great results in the area of culture and art. Among all types of cooperation, the exchange in education and culture play the key role as the bridge in the sphere of humanities between the countries. The International Festival of Theater Schools of the BRICS became the source of development of the worldview of youth from different countries; broadened the horizon of the contemporary forms of culture and art; as well as emphasized the defining role of the techniques of teaching acting through the prism of Stanislavsky’s method that transforms through the culture of ethnoses represented on the festival.
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Irianto, Ikhsan Satria, Tofan Gustyawan, and Lusi Handayani. "Implementation of Vocal Training Methods from the Stanislavski System in the Kanti Becakap." Gondang: Jurnal Seni dan Budaya 7, no. 1 (July 6, 2023): 160. http://dx.doi.org/10.24114/gondang.v7i1.48190.
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This vocal training method research is an interpretation of Stanislavski's acting method. This study aims to formulate vocal training methods for actors based on the Stanislavski system. The application of this method is carried out in the Kanti Becakap (Art Community). The material object of this research is "The System" by Stanislavski which is contained in two books, An Actor's Prepares (Translation of Asrul Sani, 1980) and the book Building A Character (Translation of Gramedia Popular Library, 2008). The research method used is a qualitative method with an analytic descriptive approach. The data collection technique used was literature study and the data analysis technique used was inductive analysis. The results of the formulation of the vocal training method from the stanislavski system consist of eight training methods, Vocal Relaxation, Articulation Clarity, Vocal Volume, Musical Dialogue, Swan Neck Intonation, Possibility of Pauses, Accentuation Rules and Instinctive Rhythms. The eight formulations of the vocal training method can be divided into two exercises, namely vocal preparation and dialogue preparation.
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McConachie, Bruce. "Method Acting and the Cold War." Theatre Survey 41, no. 1 (May 2000): 47–68. http://dx.doi.org/10.1017/s0040557400004385.
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Triumphalist accounts of the spread of “the Method” in post-World War II America generally explain its success as the victory of natural truths over benighted illusions about acting. In Method Actors: Three Generations of An American Acting Style, for instance, Steve Vineberg follows his summary of the primary attributes of “method” acting with the comment: “These concerns weren't invented by Stanislavski or his American successors; they emerged naturally out of the two thousand-year history of Western acting.” Hence, the final triumph of “the Method” was natural, even inevitable. Vineberg's statement, however, raises more questions than it answers. Why did it take two thousand years for actors and theorists of acting to get it right? Or, to localize the explanation to the United States, why did more American actors, directors, and playwrights not jump on the Stanislavski bandwagon and reform the American theatre after the appearance of the Moscow Art Theatre in New York in 1923 and the subsequent lectures and classes from Boleslavski and others? The Group Theatre demonstrated the power of Stanislavski-derived acting techniques in the 1930s, but their substantial successes barely dented the conventional wisdom about acting theory and technique in the professional theatre. Yet, in the late 1940s and early fifties, “method” acting, substantially unchanged from its years in the American Laboratory and Group theatres, took Broadway and Hollywood by storm.
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Zhang, Hao. "The Influence of K.S.Stanislavsky's Teaching on the Development of Chinese Theatre." International Journal of Social Sciences and Public Administration 2, no. 3 (April 17, 2024): 237–42. http://dx.doi.org/10.62051/ijsspa.v2n3.33.
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At the beginning of the last century, the world's performance system was gradually formed and developed. The Stanislavsky performance system was established on the basis of absorbing the essence of various world plays: a combination of performance, directing, drama teaching and methods. The Stanislavsky system is a precious treasure of the world. It is of great significance to the theory and practice of Chinese watchmaking art. In China, "From the 1930s to the end of the 1970s, in the performing arts, it can be said that Stanislavsky was a god-like being. While accepting him, the Chinese theater scene in the 20th century also had experience in learning and researching the system. a complex process that reacts to the evaluation shows a trend of ups and downs. However, to this day, although Stanislavsky is long gone, his system remains focused on the relevance of concrete learning research.
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Gudkov, Maxim M. "Leonid Snegoff as Vakhtangov’s follower in the USA and his Broadway production of Dmitry Scheglov’s play “The Blizzard”." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 2 (2022): 10–33. http://dx.doi.org/10.35852/2588-0144-2022-2-10-33.
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The study focuses on the export of Eugene Vakhtangov’s theatrical methodology to American stage practices. The problem is specifically discussed based on the the acting and directing activities of Vakhtangov’s follower Leonid Snegoff. He staged the play by the Soviet playwright Dmitry Scheglov “The Blizzard” (“Purga”) on Broadway in 1929. The deep interest in Russian theatrical ideas and systems (Konstantin Stanislavsky, Eugene Vakhtangov, Vsevolod Meyerhold and Michael Chekhov) of the US practitioners in the interwar period are explained. The main two reasons are the absence of national acting school and thus theatre pedagogy. The characteristic of the main ways for exporting Vakhtangov’s ideas overseas are provided. Among them – the theatre tours abroad, translation and publication of Soviet theatrical literature about Vakhtangov and his method, the stage activities of Russian emigrant actors who studied with the Master or by him (Richard Boleslavsky, Rouben Mamulyan, Benno Schneider, Miriam Goldina). Theatre activities of Snegoff are analyzed along with the organicity of the poetics and the idea of “The Blizzard” play according to stage realization in the course of the Vakhtangov school. A brief analysis of the main productions of Scheglov’s play on the Soviet stage of the 1920s – in the Leningrad studio “Proletarian Actor”, Leningrad State Bolshoi Dramatic Theatre – BDT, Moscow Drama Theatre (former Korsh Theatre) and Studio of the Moscow State Maly Theatre – allows us to make a conclusion about the most successful of them. They were presented not in a ultra-realistic and naturalistic way, but in a Vakhtangov way – theatrically and conditionally. The author presents the analysis of Vakhtangov theatre ideas overseas on the basis of materials from the collections of the New York Public Library for the Performing Arts, the Houghton Library (Harvard University), the Russian State Archive of Literature and Arts, as well as documents from the Museums of the Eugene Vakhtangov State Academic Theatre and the Chekhov Moscow Art Theatre.
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McLean, Tom. "A minister prepares: liturgical performance and Stanislavski’s method of acting." Theology 124, no. 2 (March 2021): 93–100. http://dx.doi.org/10.1177/0040571x21991745.
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Franklin, Jen, and Rachel Emily Taylor. "Method illustration." Journal of Illustration 9, no. 1 (March 30, 2023): 115–42. http://dx.doi.org/10.1386/jill_00052_1.
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This article outlines a form of practice formed on BA Illustration at Camberwell College of Arts, called method illustration. It alludes to an embodiment of experience and understanding before or during the production of illustration in relation to a topic or theme, challenging the expectation of illustration always ending on an image. It plays on the term method acting, which is built on techniques from the Stanislavski System and contemporized. The article includes examples of students work and how this practice can be applied.
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., Gaurav, and Smriti Bhardwaj. "The Stanislavski System: A Psychophysical Acting Training Perspective." International Journal of Religion 5, no. 10 (July 4, 2024): 3035–42. http://dx.doi.org/10.61707/x2wm2j08.
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Konstantin Stanislavski was a well-known actor and director who developed a system to train actors. Stanislavski emphasised on the significance of establishing a strong link between psychology and physicality in actor training and performance. It laid the groundwork for what later became to be known as the psychophysical approach. Stanislavski’s contributions to the art of acting were groundbreaking and he challenged conventional acting practices that relied solely on external gestures. He advocated for a more authentic and internally driven style of acting. He urged actors to delve deep into the psychology of their characters and connect their emotions to their physical actions. Throughout his career Stanislavski directed, taught, and extensively wrote about acting. He was also the first one to use the term “Psychophysical” in relation to theatre studies and actor training. He also developed a method of “Physical Actions” to help actors better understand the complexities of actor training. This paper explores the groundbreaking contribution of Stanislavski and its contemporary relevance.
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Park, Ho-Young. "Boundary between Stanislavsky's and Chekhov's Acting Method." Journal of the Korea Contents Association 9, no. 10 (October 28, 2009): 168–75. http://dx.doi.org/10.5392/jkca.2009.9.10.168.
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Merlin, Bella. "Albert Filozov and the Method of Physical Actions." New Theatre Quarterly 15, no. 3 (August 1999): 228–35. http://dx.doi.org/10.1017/s0266464x00013026.
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As a complementary piece to her preceding article on the formative significance of The Seagull to Stanislavsky's early thinking, Bella Merlin here looks at the play in the context of Stanislavsky's later work, when he was developing the Method of Physical Actions – an approach to a text which placed improvisation and the physical exploration of a scene at the centre of the actor's rehearsal process. This was in some ways a contravention of what was becoming codified in the West (through limited material being available in translation) as the psychological basis of the system. In 1995, Bella Merlin undertook a ten-month course of actor-training at the State Institute of Cinematography in Moscow, where she worked with acting ‘master’, Albert Filozov, who had trained with Mikhail Kedrov, one of the first developers of Stanislavsky's work following his death in 1938. Here, she examines the roots of Filozov's training and the nature of the Method of Physical Actions in theory and in practice. Bella Merlin trained as an actress in Britain and Russia, and has worked extensively in theatre and television. She is currently a lecturer in Drama and Theatre Arts at Birmingham University, where her area of research is acting processes and the psycho-physical nature of performance. This article is based on a paper delivered at the ‘Flight of the Seagull’ conference at the Alexandrinsky Theatre, St Petersburg, in November 1996, to celebrate the one-hundredth anniversary of the premiere of The Seagull.
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洪唯薇, 洪唯薇. "草根神聖，「鈔」越日常：北管出陣遶境的身體行動方法研究（以小鈔為例）." 藝術評論 43, no. 43 (July 2022): 085–132. http://dx.doi.org/10.53106/101562402022070043003.
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<p>北管是臺灣民間流傳最普遍的劇種與樂種，其名「北管」，乃是為與更早傳入的泉州閩南語系「南管」音樂相對，北管之出陣遶境與民間信仰及廟會文化密不可分。創立於1917年的淡水南北軒，是如今淡水地區較為活躍的子弟軒社之一，其出陣活動常與廟會相聯繫，譬如農曆3月的媽祖聖誕、農曆5月的淡水大拜拜等，每逢神明遶境，南北軒都會請出七爺八爺神將在音樂的伴奏下一同出陣。目前常見的北管出陣樂器主要由小鼓（單皮鼓）、扁鼓、通鼓、大鑼、嗩吶、響盞、大鈔與小鈔等所組成。出陣時，大鑼一般位於陣首，小鈔與大鈔緊隨其後，承擔指揮功能的小鼓在陣頭的中間，後面則跟著嗩吶。小鈔是北管出陣的常用樂器，因其操作方法簡單，即演奏者根據「頭手」的指揮，依照小鼓的鑼鼓點，以打直拍為主。這樣的特性也使「打鈔」得以成為北管樂器演奏中最典型的「程式」方法，而同樣的方法亦適用於北管音樂的其他樂器。筆者由此發現，北管出陣遶境是當代臺灣在地的一種「身體行動方法」（Method of Physical Actions, MPA）。MPA源自於康斯坦汀．史坦尼斯拉夫斯基（Konstantin Sergeyevich Stanislavski）晚年改寫的「體系」，薪傳於耶日．葛羅托斯基（Jerzy Grotowski）發展的「出神的技術」。MPA是一套演員訓練方法，它從演員的身體出發，透過能量的垂直升降，使得劇場中的演員與觀眾都能同時進入當下的中介狀態。廣義上來講，任何與身體有關的一套行動模式都有可能產生覺性，關鍵在於如何去做。本文以筆者在淡水南北軒的出陣遶境經驗為研究對象，採用自我民族誌的方法，在MPA理論視角下，闡釋北管遶境打鈔何以成為身體行動方法，並從北管的儀式性出發，探討北管出陣的轉換功能及其運作原理。</p> <p> </p><p>Pak-kuán is the most common type of opera and music in Taiwan, and is named “Pak-kuán” because it is the counterpart of the “Nanguang” music of the Minnan language family in Quanzhou, which was introduced earlier. The Pak-kuán parade is inseparable from folk beliefs and temple culture. Founded in 1917, the Tamsui south-north Pak-kuán community is one of the most active Pak-kuán community in the Tamsui area today. The activities of the Tamsui south-north Pak-kuán community are often associated with temple fairs. For example, during the Má-tsóo’s birthday in March and the Tamsui Tsóo-su’s birthday in May, the Tamsui south-north Pak-kuán community will invite the General Hsieh and General Fan to participate in the parade. At present, the common musical instruments used in the performance are small drums (single-skin drums), flat drums, gongs, small gongs, suona, tshau -á, etc. The big gong is usually at the head of the procession, followed by the tshau -á, and the small drum, which assumes the command function, is in the middle of the procession, followed by suona. The tshau -á is a common instrument in the Pak-kuán processions, because of its simple operation method, the player canbeat straightly according to the small drum’s under the direction of the conductor. Such a characteristic also makes “playing tshau -á” the most typical “program” method in the performance of the Pak-kuán instrument. The same method is also applied to other instruments of the Pak-kuán. Thus, the author found that the Pak-kuán parade is the local “the method of physical actions” (MPA) in contemporary Taiwan. MPA originates from the systemadapted by Stanislavsky in his later years, and is based on the “technique of trance” developed by Grotowski. It starts from the actor’s body, through the vertical elevation of energy, so that both the actor and the audience in the theater can enter the present state of the moment. In a broad sense, any body-related mode of action has the potential to generate awareness, and the key is how to do it. This paper uses the author’s experience in the Tamsui south-north Pak-kuán community as a research object, and intends to adopt an auto-ethnographic approach to explain why the Pak-kuán parade is a method of physical actions under the perspective of MPA theory, and to explore the transformation function of the Pak-kuán parade and its operation principle from the ritual of the Pak-kuán parade.</p> <p> </p>
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Virchenko, O. M. "Etude in teaching of the first-year students the acting prowess." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 222–41. http://dx.doi.org/10.34064/khnum1-51.13.
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Background. Each new generation of students brings with them its own themes and subjects, and the continuous flow of life opens up new artistic horizons. In addition, each team of teachers and students is unique, and the necessity to look repeatedly for ways to uncover the individualities of future actors arises. Therefore, the work on the etudes, being aimed at the development of the creative abilities of the young actors, occupies almost the main place in the learning process. For a student, an etude is a means to build up self-own effective scenic behavior in the conditions of zones of silence. Etude has its own principles of construction and embodiment. The concept of the etude, its themes and components are the subjects of research in this article. The etude method of the actor’s work on the role was rather thoroughly and deeply examined by such authors as M. O. Knebel [4], S. V. Gippius [2], N. M. Gorchakov [3]. K. S. Stanislavsky [6, 7] reveals the versatile properties of the elements of scenic well-being, the laws of creativity and psycho-techniques with exhaustive completeness. E. B. Vakhtangov considered theatrical training not only from the point of view of mastering acting prowess, but mainly as formation the artist’s worldview: the up-brining of desire to serve high ideals and devote his art to them, an acute sense of modernity, the ability to see life creatively, guess its requirements [1]. The purpose of this study is to describe the practical exercises used in the work on etudes with first-year students. We offer our-own methodical developments, give the examples of exercises and etudes for the development of memory of physical actions, fantasy and imagination, the ability to build a truthful line of stage behavior in specific proposed circumstances, according to the system of K. S. Stanislavsky [6, 7]. The main material of the research. Scenic etude is the initial and basic component in the organization of stage action, an exercise with a certain psychological load. This is acting training in a variety of scenic situations and proposed external circumstances. Each of the students, called on the scene for the first time, experiences excitement, which appears in one or another form. Therefore, we warn the students that they do not need “to play” anything, but to behave as in life, in a word, we try in every way to do everything so that the transition to the stage does not disrupt normal human well-being. For a group of students, we suggest listening to and remembering the sounds that were heard in the room from the moment the exercise began to its end. In fact, those students who are on the stage and those who look to them in the auditorium, participate in this exercise. Then all the students take turns talking about the sounds, which they heard, complementing their comrades. This exercise helps to instill in students an understanding that the mental work and the activity of the sense organs on the stage are the same as in real life. The attention of the student is focused on some subject, sound, thought or action of the partner. Such an object, action, thought, sound is perceived particularly clearly and is called the “object of attention”. These exercises make it possible: 1) to focus your attention on a given object; 2) to keep this attention for some time, that is, to make the proposed action exciting, important for yourself. After these exercises, we introduce students to the “circles of attention”. “Small circle of attention” – it is when attention is directed to the inner world, to my sensations and experiences; the “medium circle” – to all that surrounds me within this room, where I am at the moment (things, sounds, smells, etc.); the “big circle of attention” – to all that surrounds me outside the room (hall), where I am at the moment. The focused attention distracts the student from the auditorium, hence the action that he performs in his etude on stage become the most important for him. It is very important for us, the teachers who works with the first-year students, to attain that the student concentrates on the stage action. It is also important that the students at the initial period of their training during the performance of etudes would not experience muscle strain, which, for the most part, arises from their efforts to appear in public better and smarter, more nimble and graceful than they usually are. K. S. Stanislavsky found a way to get rid of the tightness and education of muscle freedom by the way of creating a “muscular controller” – the ability to quickly find out in which muscle group the tension and remove it, leading oneself to a state of muscle freedom. Exercises for relax of muscles we begin with the fourth or fifth lessons and apply in parallel with the exercises on attention, combining them in the future. Then we give students to touch some subjects and tell about the chain of associations they cause. These exercises, freeing the thought, lead students to the beginning of work on the development of imagination. The next cycle of exercises we devote to the development of the imagination to create “proposed circumstances” (“magic if”, following K. Stanislavsky). “Proposed circumstances” arise when we ask the students questions: “Who?”, “When?”, “Where?”, “Why?”, “How?”, which excite their imagination, enticing them to substantiate their actions in a logical and consistent manner. We offer the students also etudes developing the memory about physical actions: having no objects in their hands, feeling them only with the help of their imagination, the students do certain physical actions. It is very important to instill in the first year students a feeling of proper physical well-being in the exercises; it is that need in future work on a role. The next stage of the work is the etudes, in which there is already a plot. Etudes are structured in such a way that an event or a surprise takes place in them that changes the course of life in the etude and makes it necessary to evaluate a new state of affairs. The next stage in the work with first-year students is the plot etudes. They are built in such a way that an event takes place in them or a surprise happens, which changes the course of a character’s life and makes it necessary to evaluate a new state of affairs. The construction of an etude contains a small introduction, exposure, the event itself and the outcome. We try to choice the plot based on events that could happen in reality with students and that correlate with the area of their life experience. We remind of the need for action from myself: what would I do in real life if it happened to me? The next section is the relationship to the partners in the etude. When two or more students act on the stage, interaction and mutual interest between them occurs. We act on our partner with the power of our “I”, not only with words and appearance, but with our whole being. This influence of my “I” on the “I” of my partner and contrary is the essence of the process of “communication”. We cultivate in a student the ability to concern seriously his course mate, same as his brother, sister, bride and so on, depending on their relationship in the etude. Conclusions. In a result of the beginning exercises and etudes, the students of the first year of study should come to an understanding of what the “inner well-being” status constitutes in practice. That is, to find a natural state in the context of scenic playing on public; to master the stage attention that is, being on the stage learn to concentrate on any one impression. This state should be connected with the activity of the senses (hearing, sight, smell, touch, taste), but, at the same time, the student should not lose the ability to think and act. In the process of working on etudes, students should answer the questions: wherefore are we going to play this etude, what shall we say to those who will watch us in this etude? Answers to these questions help us, the teachers, to lead students to a clear comprehension of the tasks of their stage work and understanding the role of the collective as a creative unit, nurturing in them a feeling of partnership, “a feeling of elbow”, camaraderie, the ability to perceive criticism and self-criticism correctly, since the theater is the collective art; to develop the artistic taste of students; ultimately – to cultivate in them the love of their future profession.
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Klekovkin, Olexander. "Ukrainian Theatre: With and Without Stanislavski." ARTISTIC CULTURE. TOPICAL ISSUES, no. 18(2) (November 29, 2022): 62–66. http://dx.doi.org/10.31500/1992-5514.18(2).2022.269784.
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The paper attempts to reconstruct the principles of leading theatre schools of Ukraine in the 19th–20th centuries, the stages of implementation of Stanislavski’s ideas, of the aesthetics of his theatre, and his method in the Ukrainian theatrical culture. Despite the myths that since the very beginning of the Soviet rule total adherence to Stanislavski’ssystem and his method was imposed, the paper reveals no less dramatic though different theatre history and the point of no return: August 22nd, 1950, when the campaign for the advanced and the in-depth study of the System by Ukrainian theatre and Ukrainian theatre pedagogy started. Despite the vast media campaign, the study of the System and the practice ofstage art differed significantly: since the 1960s the System was taught by the masters who had some other basic education than theatrical. Thus, depending from this education and being rooted in some other methodology, these mentors distinguished the elements and techniques applicable to their personal experience within the System: for instance, the disciples of Les Kurbas (Mykhailo Verkhatskyi, Marian Krushelnytskyi, Volodymyr Skliarenko, and others) and Vsevolod Meyerhold (Volodymyr Nelli) predictably accentuated the method of physical action. The repertoire policy of Soviet authorities in Ukraine in general and in Ukrainian theaters, in particular, featured a combination of dominant music drama theaters and the traditions of the theatre schools of the 19th century (with the theatre school of Ukrainian Galicia tending to a synthetic actor, while the rest of Ukraine clearly preferred “gut acting”). This produced the acting styles that go beyond both the categories of Stanislavski (theatre of imitation / theatre of feeling) and the categories of Kurbas (theatre of accentuated influence / manifestation) or other masters. Being neither synthesis nor eclecticism, these styles were determined by the traits of a particular theatre director and the traditions of his theatre.
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Mumford, Meg. "Brecht Studies Stanislavski: Just a Tactical Move?" New Theatre Quarterly 11, no. 43 (August 1995): 241–58. http://dx.doi.org/10.1017/s0266464x0000912x.
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In the 'fifties Brecht undertook an examination of Stanislavski's theatre which in terms of breadth and intensity was unprecedented in his career – and rehearsal documentation from that period testifies that he incorporated some of Stanislavski's methods into the stage practice of the Berliner Ensemble. The seriousness of his study is attested by the organized collection of notes on the production of Katzgraben recently discovered in Elizabeth Hauptmann's estate. Brecht's preoccupation with Stanislavski at this time has been seen as an attempt to protect his theatre's existence in an environment where Stanislavski, socialist realism, and the communist cause were regarded as interlinked. In this paper, Meg Mumford, recently appointed to a lectureship in theatre in the University of Glasgow, outlines the nature of Brecht's study of Stanislavski, and draws upon the records of the ensuing theatre practice, the Katzgraben notes in particular, to illuminate Brecht's growing recognition of affinities with Stanislavski's methods, which he found useful in fostering the young Berliner Ensemble and in creating performances he viewed as appropriate to audiences in the GDR.
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Panov, Sergey, and Sergey Ivashkin. "Stanislavsky’s method and some conceptual echoes in Russian culture." Stanislavski Studies 9, no. 1 (January 2, 2021): 81–89. http://dx.doi.org/10.1080/20567790.2020.1860161.
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Cole, Emma. "The Method behind the madness: Katie Mitchell, Stanislavski, and the classics." Classical Receptions Journal 7, no. 3 (November 23, 2014): 400–421. http://dx.doi.org/10.1093/crj/clu022.
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Mashkov, Vladimir L. "Model of actor’s psychophysical actions based on Leontiev's activity theory." Theoretical and experimental psychology 16, no. 4 (2023): 107–21. http://dx.doi.org/10.11621/tep-23-31.
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Background. Dramatic art requires methodological foundations to be applied for training; psychological theories can form the basis for actor’s skills and allow for the conscious control of performing activities. Nowadays the realistic approach to theatrical art (Stanislavsky, K.S., Toporkov, V.O.) based on the idea of the life-like verisimilitude of acting does not lose its relevance, however, its terms and methods require correlation with psychological constructs describing the structure of actor play as a type of activity. Objective. Development of model ideas about the structure of an actor’s psychophysical actions by correlating the psychological structure of activity as per A.N. Leontiev with the system of acting work presented in the approaches of K.S. Stanislavsky, V.O. Toporkov. Methods. A systematic analysis of domestic and foreign research on the psychological structure of activity (A.N. Leontiev, L.S. Vygotsky, K. Levin, B.V. Zeigarnik, W. James, S. Shekhter, etc.) allowed to apply A.N. Leontiev’s theory of activity to the methods of acting presented in the works of the famous theater directors (K.S. Stanislavsky, V.O. Toporkov, M.A. Chekhov, V.E. Meyerhold, E.B. Vakhtangov, etc.). Results. It is shown that external and internal sides of the actor’s psychophysical action have the same psychological structure: activity (reconstruction of realistic human behavior) — motivation (“supertask”, character’s “struggle”), action (psychophysical action) — goal (representation of the final result related to “supertask”), operation — conditions (given circumstances). The permanency and controllability of the actor’s psychophysical actions is ensured by motivational structures (motive, goal), and not by emotions, which lack incentive effect and duration. Experience arises naturally while acting in the given circumstances motivated by goals and supertask. Conclusion. Understanding the structure of activity and its motivational aspect allows to control the actor’s psychophysical action through conscious goal setting and managing its achievement. Psychophysical actions cannot be performed beyond the given circumstances and represent a synthesis of the first and second signaling systems.
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Marchenko, Herman. "Vsevolod Meyerhold’s Biomechanics and Boris Zakhava's Educational Work." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (December 10, 2020): 58–74. http://dx.doi.org/10.36340/2071-6818-2020-16-4-58-74.
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The article deals with two different approaches to training actors. One of them is Stanislavski’s system, and the other is Meyerhold’s biomechanics. Konstantin Stanislavski and Vladimir Nemirovich-Danchenko are reformers of the Russian theater. As the Art Theater founders, they understood that the emergence of a new drama would require a completely different approach to working with actors and a different design of the stage space. With regard to new performances, it became possible to pose critical social questions related to everyday life before the viewer. Therefore, it was logical that the director's profession became very important. Working on his system, Stanislavski paid great attention to the need for an actor’s comprehensive development. Many wonderful actors who attended his acting school were among the students of this great theater director. Vsevolod Meyerhold was one of them. However, the latter chose his direction and began to engage in staging performances actively and search for new means of expression, having come to an absolute convention on the stage. Meyerhold created his method of working with an actor, known as biomechanics, in the theatrical environment. The principle of this approach is the opposite of Stanislavski's system. With all the difference in views on the theater, in the early stages of Meyerhold's independent practice, Konstantin Stanislavski offered him the opportunity to cooperate, which led Vsevolod Meyerhold to the Studio on Povarskaya Street in Moscow. Evgeny Vakhtangov was another student of Stanislavski and Nemirovich-Danchenko. At the request of Stanislavski, Vakhtangov was engaged in educational work in the studio of Moscow Art Theatre. Unlike Meyerhold, he thoroughly mastered the system and then created his theatrical direction called fantastic realism. Vakhtangov's legacy was preserved thanks to the activities of his students, among whom was Boris Zakhava. He turned to Meyerhold for help and spent several seasons with the master, gaining invaluable experience, including revealing the features of biomechanics in practice. Boris Zakhava remained faithful to Vakhtangov’s principles and continued his teacher’s work at the Shchukin Theater Institute.
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Ishak, Ismaliza. "TRANSFORMATION APPRECIATION OF MONODRAMA "LADY SWETTENHAM" AND "GREEN LIGHT"." International Journal of Creative Industries 1, no. 1 (September 15, 2019): 15–26. http://dx.doi.org/10.35631/ijcrei.11002.
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This article is aimed at analyzing the transformation method applied by two selected monodrama actors, Sabera Shaik in monodrama theater "Lady Swettenham" and Shahrul Mizad Asyaari in the monodrama theater "Waiting for the Green Light". This study takes into account some of the transformation methods used for conveying appreciation and visually inspiring the audience. Through the survey method of secondary and premature data and directly involved in the spectacle, the illustration is clearly detailed through scientific analysis in the performance of monodrama acting. These two presentations can illustrate the success of the transformation method and are indirectly made between the basic recommendations to the solo acting method. Using the Imitation theory approach by Albert Bandura and method acting (Stanislavski) this approach can be used as a benchmark for non-realistic acting representation.
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Sellers-Young, Barbara. "Technique and the Embodied Actor." Theatre Research International 24, no. 1 (1999): 89–97. http://dx.doi.org/10.1017/s0307883300020290.
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A primary theme of twentieth-century theatre has been the actor's body. Numerous directors from Stanislavsky to Anne Bogart have evolved stage theories and related training methods to promote a more expressive body on stage. In her 1995 article ‘Developing a Physical Vocabulary for the Contemporary Actor’, Lea Logic provides an overview of many of these approaches. While acknowledging the contributions of these director-teachers, she suggests, ‘If body shape and movement are to retain and increase their power as the central focus of theatre, actors must learn to maximize the expressive potential of their bodies.’ Quoting Copeau, Chekhov, Stanislavsky or Barba, she maintains the primary problem is an actor's tendency consistently to return to physical choices related to their personality and not necessarily to the role they are playing. She quotes Copeau's description of actors: ‘I always know, in advance what they are going to do. They reduce everything to the level of their habits, their clichés, their affectations. They do not invent anything.’ While Copeau's complaint is not directed at actor teachers, but actors, his words define one of the primary challenges for them, to teach actors to expand their expressive abilities beyond their self image.
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Bilgrave, Dyer P., and Robert H. Deluty. "STANISLAVSKI'S ACTING METHOD AND CONTROL THEORY: COMMONALITIES ACROSS TIME, PLACE, AND FIELD." Social Behavior and Personality: an international journal 32, no. 4 (January 1, 2004): 329–40. http://dx.doi.org/10.2224/sbp.2004.32.4.329.
Full textAbstract:
Constantin Stanislavski revolutionized 20th century theater by developing a highly articulated and practical system of acting, now referred to simply as “the method.” Stanislavski's method presents a model of human behavior and motivation that is strikingly similar to the “control theory” of psychologists Charles Carver and Michael Scheier. These similarities are in the areas of (a) the regulation of behavior by goals, (b) the process of goal formation, (c) the hierarchical organization of behavior, (d) the disruption of goals by obstacles, (e) outcome expectancies, (f) the sequencing of behavior into units, and (g) the formation of identity. These commonalities provide something akin to “construct validity” for the basic assertions of each model.