1991
DOI: 10.2307/3208219
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Stanislavski's Preface to "An Actor Prepares"

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Cited by 6 publications
(4 citation statements)
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“…Attentional deployment. Attentional deployment is done by thinking about events that call up the emotions that one needs in that situation, known as "method acting" in theatre (Gross, 1998b, p. 284;Stanislovsky, 1965). The concept of deep acting, in its original form by Hochschild (1983), is very similar to attentional deployment.…”
Section: Antecedent-focused Emotion Regulationmentioning
confidence: 99%
“…Attentional deployment. Attentional deployment is done by thinking about events that call up the emotions that one needs in that situation, known as "method acting" in theatre (Gross, 1998b, p. 284;Stanislovsky, 1965). The concept of deep acting, in its original form by Hochschild (1983), is very similar to attentional deployment.…”
Section: Antecedent-focused Emotion Regulationmentioning
confidence: 99%
“…The paid actors were familiarized with surface and deep acting characteristics, as described in the literature, which occurred during their training sessions and participation in several rehearsals, following prescriptions outlined in previous studies that used similar training methods (Hennig-Thurau et al , 2006). Specifically, the training employed acting techniques commonly taught to acting students as part of their basic training (Stanislavski, 1965); these exercises target the development of specific skills for using emotion memories (i.e. remembering and re-experiencing specific emotions) to evoke the required emotions (such as happiness, liking, enthusiasm and concern).…”
Section: Methodsmentioning
confidence: 99%
“…The script used by the actors is shown in Appendix 2. Similar to Study 1, we extensively trained the actors by providing detailed background information and literature on surface and deep acting and spending several hours using specific exercises, based on the Stanislavski (1965) acting technique, that are commonly used in basic acting training. We also extensively trained actors so that their body posture, the rate of speech and other observable behaviors were as identical as possible, so that the only difference between conditions was whether the counselor adopted either a surface acting or a deep acting strategy for each of the three phases of the interaction.…”
Section: Methodsmentioning
confidence: 99%
“…Nello specifico, ritornando alla dimensione metaemotiva, il Metodo di Konstantin Stanislavskij (1936), usando gli attori la propria memoria emotiva per comprendere le motivazioni del protagonista e "rivivere" le emozioni vissute in situazioni analoghe a quelle del personaggio (Verducci, 2000), allenerebbero importanti abilità empatiche (Lewandowska & Węziak-Białowolska, 2022), nello specifico due: empatia cognitiva (assunzione di prospettiva), che consente di comprendere gli stati mentali altrui, ed empatia emotiva (la condivisione vicaria delle emozioni), riferendosi, con questo termine, alla risposta affettiva alle emozioni e agli stati emotivi di altre persone (Smith, 2006).…”
Section: La Pedagogia Teatrale Per La Promozione Delle Competenze Met...unclassified