{"title":"演员在创作过程中的参与和脱离。斯坦尼斯拉夫斯基体系 - 布莱希特体系","authors":"Marius Bodochi","doi":"10.35218/tco.2023.13.2.16","DOIUrl":null,"url":null,"abstract":"The two systems – the Stanislavsky’s and the Brecht one – have points in common, even if, at first glance, they are very different in approach. The article aims to describe the two directions regarding the practice and pedagogy of the actor's art. Elements relating to inner or outer inspiration, awareness or the distancing effect are analyzed and counterbalanced between the two systems. Likewise, the discourses that continued the two fundamental aesthetics for the 20th century stage are also presented.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"31 45","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Involvement and Detachment of the Actor in the Creative Process. Stanislavsky System - Brecht System\",\"authors\":\"Marius Bodochi\",\"doi\":\"10.35218/tco.2023.13.2.16\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The two systems – the Stanislavsky’s and the Brecht one – have points in common, even if, at first glance, they are very different in approach. The article aims to describe the two directions regarding the practice and pedagogy of the actor's art. Elements relating to inner or outer inspiration, awareness or the distancing effect are analyzed and counterbalanced between the two systems. Likewise, the discourses that continued the two fundamental aesthetics for the 20th century stage are also presented.\",\"PeriodicalId\":326041,\"journal\":{\"name\":\"Theatrical Colloquia\",\"volume\":\"31 45\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-12-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Theatrical Colloquia\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.35218/tco.2023.13.2.16\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Theatrical Colloquia","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.35218/tco.2023.13.2.16","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Involvement and Detachment of the Actor in the Creative Process. Stanislavsky System - Brecht System
The two systems – the Stanislavsky’s and the Brecht one – have points in common, even if, at first glance, they are very different in approach. The article aims to describe the two directions regarding the practice and pedagogy of the actor's art. Elements relating to inner or outer inspiration, awareness or the distancing effect are analyzed and counterbalanced between the two systems. Likewise, the discourses that continued the two fundamental aesthetics for the 20th century stage are also presented.
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