Stanislavski Studies最新文献

{"title":"Perspective in acting practice","authors":"S. Poliakov","doi":"10.1080/20567790.2020.1736443","DOIUrl":"https://doi.org/10.1080/20567790.2020.1736443","url":null,"abstract":"ABSTRACT ”Perspective“ is a notion present in Stanislavski’s “system” but not as commonly used in acting practice as “given circumstances” or “objectives”. It deals with the future and with the verbal action. Its use for actors was renewed by the Russian director Anatoly Vasiliev in his work on conceptual texts using the term “reverse perspective”, which has a rich background in art theory, especially as articulated by Pavel Florensky. “Perspective” itself is a notion that has been considered by many art historians, including Erwin Panofsky. After a workshop led at the Stanislavski symposium in Malta in April 2019, this paper shows concretely how to work with “perspective” on Chekhovian texts, particularly on the monologues of Three sisters. It unveils the meaning of this artistic concept for acting, the sense it has specifically for Stanislavski and Vasiliev and how it transforms the preparation of the actor in approaching a monologue from its end through active visualization.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"47 1","pages":"143 - 154"},"PeriodicalIF":0.2,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85103263","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The ever-widening contexts of Konstantin Stanislavsky","authors":"L. Senelick","doi":"10.1080/20567790.2019.1700734","DOIUrl":"https://doi.org/10.1080/20567790.2019.1700734","url":null,"abstract":"ABSTRACT Adopting and adapting Giorgio Strehler’s notion of treating a great play as a series of nesting boxes, I intend to examine the contexts of Stanislavsky’s life and work as Matryoshka dolls, ever widening in significance. The first, most compact box is the biographical: the influence of family, education, theatrical experience, and cultural background on his artistic programme. It is set within the second: the historical, tracking his responses to the broader political and socio-economic events that bore in upon him. The third is the ideological: siting his ideas within the intellectual and aesthetic trends of his time. Finally, I hope to demonstrate how, become an institution in modern theatrical thought and practice, he has generated an all-encompassing context of his own.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"107 1","pages":"7 - 21"},"PeriodicalIF":0.2,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81367336","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Prana and the actor","authors":"Deepak Verma","doi":"10.1080/20567790.2020.1718927","DOIUrl":"https://doi.org/10.1080/20567790.2020.1718927","url":null,"abstract":"ABSTRACT In my previous article (Stanislavski Studies, Vol. 6, Issue 1, May 2018), based on the Practice as Research at DAMU in Prague, I described my work with actors and practitioners, using an introductory conditioning set of exercises as part of my own technique, the Yoga of Acting. The Yoga of Acting uses a three-tier system to allow the actor an experience of self, whilst imbricating that experience with the technical, mechanical and well-known challenges of the Art of acting and all it requires and demands. In this workshop, which I completed in Malta as part of the S Word, I am exploring the second stage of my practice, involving the use of the Chakra system as a guide for character exploration and embodiment in the Actor’s work. “Prana” is the sanscrit word for “lifeforce” or “vital principle”. It is also translated as “spirit”, “soul”, “respiration”, “energy” or “vigour”.1 Prana can also be called “Vital Air”, pertaining to Pranayama, the exercises of breath modulation offered in the practice and philosophy of Yoga. “By controlling the prana one can control all the forces of the universe, such as gravity, magnetism, electricity and nerve currents. Thus, prana refers to energy as the basis of all life. Thus, the objective of Pranayama is to stimulate, communicate, regulate and control the vital life force that exists in the body.”2 Stanislavski encountered this word in his studies with Hatha Yoga, and subsequently used the term “emitting rays”. This article explores the PaR around Prana explored in my workshop in Malta, including the experience of some of the participants and the wider experience of Prana.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"46 1","pages":"97 - 112"},"PeriodicalIF":0.2,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85557679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Utilizing circles of attention in musical theatre acting: a personal perspective","authors":"E. Weaver","doi":"10.1080/20567790.2019.1645411","DOIUrl":"https://doi.org/10.1080/20567790.2019.1645411","url":null,"abstract":"ABSTRACT Pedagogy and methodology for acting curriculum is consistent among universities in the United States. Students are introduced to acting principles formulated by Konstantin Stanislavski, Sanford Meisner, Uta Hagen, Robert Cohen, Jerzy Grotowski, Robert Benedetti, Lee Strasberg, and other experts in the field. This is not always the case for musical theatre acting courses offered by these same institutions. Musical theatre “acting” courses usually just expose students to a broad range of songs within the historical canon of musical theatre repertoire. Primary focus tends to be on the singing technique and vocal interpretation of the song. Musical theatre students in the academic setting must understand that acting technique represents the intellectual life of a character. The musical structure employs the emotional colour to the given circumstances of the character’s reason for singing the song. As a practitioner and educator of musical theatre pedagogy and methodology, I have experienced great success by utilizing Stanislavski’s “circles of attention” when coaching students through musical theatre song performance. The technique provides a clearer path of analysis for song text, activates given circumstances more clearly, clarifies moment-to-moment work, and links musical notation to language in order to achieve a more meaningful performance experience. It has become the most effective teaching tool in my musical theatre courses.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"1 1","pages":"245 - 252"},"PeriodicalIF":0.2,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85597219","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The actor and the character: explorations in the psychology of transformative acting by Vladimir Mirodan (Routledge, 2019). A critical response by Julian Jones","authors":"Julian Jones","doi":"10.1080/20567790.2019.1653005","DOIUrl":"https://doi.org/10.1080/20567790.2019.1653005","url":null,"abstract":"At least since Denis Diderot’s 18 century essay, Paradoxe Sur Le Comedien (c.1773), the question about what, precisely, constitutes the nature of acting has been hotly debated, both within the acting profession itself (as part of an actor’s practice) and, more theoretically, within academia. Indeed, a concern relating to the actor’s apparent transformation into someone else is already present in Plato – a concern that led to the philosopher’s distrust of the theatre and mimesis more generally. A central question in the debate is this: does the actor experience a dual consciousness, where (s)he is both “living character” and “controlling artist” at one and the same time, OR does the actor identify so completely with the written character that a new entity, the actor-character, is born – Ya Esm “I am being” – as Stanislavsky puts it (Stanislavski 2008, p.684)? Vladimir Mirodan’s The Actor and the Character: Explorations in the Psychology of Transformative Acting continues this discussion on the nature of acting, comparing, specifically, the “actor-in-action”model – where what the audience sees is the experiencing, emotionally authentic actor “living truthfully under the imaginary circumstances” of the play (see Meisner et al.) – versus the “transformative actor”, where the actor’s personality and that of the character remain distinct. This, according toMichael Chekhov, allows for an acknowledgement of the actor as “artist”, who transcends his/her own personality through a process of transformation, thus creating a character, who is “other” than them (p.3). Mirodan’s particular approach here is to employ insights gained from the study of both Psychoanalysis (a staple of acting theory and practice since the first half of the 20 century) and the more recent findings from Scientific Psychology (or Cognitive Science), as a frame for analysing the actor’s method of creating character. Terms such as “body-mind” are used throughout, in recognition of the rejection of a Cartesian duality – a move also reflected in the contemporary popularity, and ubiquitous use of, the term psycho-physicality in actor training (see, for example, Zarrilli 2009). ‘What happens when one of us “becomes somebody else”, Mirodan asks, provocatively, at the outset. The application of current thinking in neuroscience to the discipline of acting and, consequently, to the development of methodological approaches in actor training was a central theme at the recent S-Word Symposium held at the University of Malta in April 2019, where Mirodan was one of the key speakers. It is also the subject of several recent studies, notably Rick Kemp’s Embodied Acting: What neuroscience tells us about","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"2002 1","pages":"253 - 260"},"PeriodicalIF":0.2,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89506830","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"EQ + SQ = ST2: a spiritually intelligent approach to actor training. Part two: principles in practice","authors":"Jane Hensey","doi":"10.1080/20567790.2019.1644749","DOIUrl":"https://doi.org/10.1080/20567790.2019.1644749","url":null,"abstract":"ABSTRACT This article follows on from a previous exploration (published in Vol. 6, # 1, May 2018) into the links between current psychological concepts of emotional and spiritual intelligence and Stanislavskian-based principles; here considering how aspects of both might be integrated into current training programmes. The author starts by outlining some key findings from a recent research project and goes on to answer some of the more challenging questions that might be raised against such an approach, before making recommendations for future exploration of the concepts. Current trainers have a responsibility to prepare students not just to “act well” but also to “work well” and – most importantly – to “live well” and this article continues to explore the question of “how?” introduced in Part One.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"22 1","pages":"219 - 228"},"PeriodicalIF":0.2,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78599011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The S Word: Stanislavsky and The Media","authors":"P. Fryer","doi":"10.1080/20567790.2019.1653008","DOIUrl":"https://doi.org/10.1080/20567790.2019.1653008","url":null,"abstract":"For our fifth annual event, we aim to explore all aspects of Stanislavsky’s relationship with and impact upon all aspects of the contemporary media – film, television, radio, electronic media, print and journalism, and via still and moving images, sound and music. We now invite proposals for papers (20 minutes duration), practical workshops (40 minutes duration) and panel presentations (60 minutes duration with a minimum of three speakers). Please send a brief abstract (not more than 300 words) and a short biography to Professor Paul Fryer – (paul@paulfryer.me.uk), to arrive no later than Friday 29 November 2019. Information on keynote and guest speakers, special presentations and details of booking arrangements will be published shortly. Papers from this event will be published in the Spring 2021 edition of Stanislavski Studies. Please join us for our London 2020 event.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"183 1","pages":"265 - 265"},"PeriodicalIF":0.2,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74639071","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Simone Weil and theatre: from attention to the descending way","authors":"G. Campo","doi":"10.1080/20567790.2019.1644746","DOIUrl":"https://doi.org/10.1080/20567790.2019.1644746","url":null,"abstract":"ABSTRACT Theatre artists and philosophers all over the centuries have often pointed out the existence of two levels within every phenomenon; we call this thought “Dualism”. During the last centuries, many have focused on a specific, although traditional, example of dualism, which envisions a superior, transcendent reality – that is not connected to ours -. The performer can create such a connection, through her work on “verticality”, touching the superior invisible realm, which must then descend back to our everyday dimension. This article analyses one of the main tools used in order to set up a connection between these two dimensions, that is attention, according in particular to one of the main thinkers of the twentieth century: Simone Weil. In this regard, the author explores the last pedagogical work of French actor and theatre pedagogue Louis Jouvet and the last period of research by Jerzy Grotowski and his pupils, both focused on that “attention” and “descending way”, which works on the same line of what is better known as “Verticality”. In the second part, Campo comments on Weil’s selected passages.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"92 1","pages":"177 - 200"},"PeriodicalIF":0.2,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86276021","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The influence of Christian Orthodox thought on Stanislavski’s theatrical legacy","authors":"Gabriela Curpan","doi":"10.1080/20567790.2019.1644747","DOIUrl":"https://doi.org/10.1080/20567790.2019.1644747","url":null,"abstract":"ABSTRACT Expressed through many possible Orthodox concepts, such as “soul”, “heart”, “love”, “beauty” and “truth”, scattered throughout all his writings, Konstantin Stanislavski’s personal religious feelings seemed constantly to have shaped his life-long sense of an artistic spirituality. Yet, in spite of this presence, the Christian Orthodox connections appear to be neither properly analysed nor fully explained in the literature. Therefore, this paper strives to identify and reflect upon how such generally ignored but key Orthodox ideas might have had a crucial influence on shaping Stanislavski’s “system”.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"63 1","pages":"201 - 217"},"PeriodicalIF":0.2,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84114679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Auditions and … more auditions","authors":"John Matthews, V. L. De Guevara","doi":"10.1080/20567790.2019.1644744","DOIUrl":"https://doi.org/10.1080/20567790.2019.1644744","url":null,"abstract":"ABSTRACT This is the third of a four-part series of interrelated articles discussing the pedagogical, ideological, and sociological functions of the audition process in drama school training. For this third paper, we have re-interviewed our contributors in 2019, as they come towards the end of their formal training. We have asked them to compare their experiences of professional auditions with their experiences of auditioning for drama school recounted for the first two papers. Their accounts describe a complex and contradictory response to the process of audition which negates any possible interpretation of a linear or progressive development. This is apparently at odds with the pedagogic strategies pursued during their studies. Aiming to explain that dissonance we draw on the Bergsonian concepts of “clock time” and “psychological time” to help to classify and analyse these experiences, broadly categorizing these with reference to an actor’s own conscious states in audition. Using Stanislavksi’s writing as a key point of reference allows us to align our theorization with his discussion of a long-term and indeterminant pedagogical process of actor development. This is also counterpointed by Stanislavski’s recognition that technique, no matter how it has been acquired or how competently it may have been mastered may not be sufficient for the actor to exercise her craft. In the last section of this article, we utilize Csikszentmihalyi theorization of “flow” states in order to reinforce the distinction felt by our interviewees between auditions determined by/in “clock time” and those inscribed within/by the psychological time, which Bergson calls la durée.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"95 1","pages":"145 - 158"},"PeriodicalIF":0.2,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79936457","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}