Stanislavsky in Focus

Carnicke, Sharon Marie

doi:10.4324/9780203882092

Cited by 62 publications

(21 citation statements)

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“…One way to plug the gaps in one's knowledge is to investigate the origins of the methodology, although a literature review is not without its difficulties. The inaccurate and inconsistent translation of Stanislavsky's work in the best known English-language versions is well documented by, for example, Hobgood (1973), Benedetti (in Stanislavski 2008 and Carnicke (2009). Furthermore, Carnicke offers a comprehensive account of the distortion of Stanislavsky's ideas by other factors, particularly the need to adapt his books for the American market and the censorship in Russia of any ideas that did not conform strictly to Soviet ideology.…”

Section: Section One: the Rsa And Active Analysismentioning

confidence: 91%

“…One group staged Treplev's failed play, another created a scene in a hotel lobby, where a Trigorin-like figure is recognised and pursued by various women. Zemtsov approved of sharp changes in atmosphere, a 'vivid' event that affected the whole group, differentiation of reaction and actors existing realistically within the given circumstances, recalling the central concept of the 'system', 'perezhivanie' or 'experiencing' (Hobgood 1973, Benedetti in Stanislavski 2008, Carnicke 2009). In the case of the 'Chekhov' études, Zemtsov pointed out the ingredients that were and were not appropriate to the play.…”

Section: Section Two: the Moscow Art Theatre School-studiomentioning

confidence: 97%

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Twenty-first-century Russian actor training: Active Analysis in the UK

Jackson¹

2011

Theatre, Dance and Performance Training

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Actor training in Europe, Russia and the US is still dominated by the many branches of the Stanislavskian 'family tree'. But how has this tradition evolved in Moscow and what fresh insights does it have to offer? Written from the perspective of a practitioner, this paper interrogates two strands of Russian actor training in the Stanislavskian tradition. The first section traces the genealogy of Active Analysis from Stanislavski's final studio, through the work of Maria Knebel to the 'Russian School of Acting', an idiosyncratic group of teachers who brought new techniques to the UK in the 1990s. Secondly, the paper analyses recent developments at the School-Studio attached to the Moscow Art Theatre, revealing a focus on études and the 'event'. The third and fourth sections document the impact of a range of contemporary Russian methods on students in a British drama school, the Mountview Academy of Theatre Arts. In training, rehearsal and performance, the approach is seen to enable the students to grasp some of the 'holy grails' of acting for the first time. In conclusion, the paper summarises the potential of Active Analysis and some of the issues raised by transferring training methods from one theatre culture to another.

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Section: Section One: the Rsa And Active Analysismentioning

confidence: 91%

Section: Section Two: the Moscow Art Theatre School-studiomentioning

confidence: 97%

Twenty-first-century Russian actor training: Active Analysis in the UK

Jackson¹

2011

Theatre, Dance and Performance Training

View full text Add to dashboard Cite

show abstract

“…38 Similarly, Merlin suggests that active analysis is a more holistic psychophysical approach in which 'the logic of sequence was less important than the experiential discoveries made'. 39 We appear to have moved some distance from postdramatic theatre here but the significance of active analysis is that it opens up Stanislavsky's system to approaches that extend beyond psychological realism and, as Merlin suggests, is 'the most exciting way Stanislavsky's theories can be transported into contemporary theatre practice'.…”

Section: From Affective Memory To Active Experiencingmentioning

confidence: 99%

“…51 There is no loss of "self" in flow -which would also suggest a loss of control -but a kind of focused attention where the emotions are harnessed, 'not just contained and channelled, but positive, energized, and aligned with the task at hand'.…”

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confidence: 99%

“…54 Although not every solo is included in every performanceGregory selects which particular solos are to be performed on the performance day -they are relatively fixed and thus, as Gregory notes, 'like any performance they shift but they don't have quite the fragile quality of the other material'. The potentially reductive affects of repeatedly used memories that I referred to earlier, is applicable here.…”

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confidence: 99%

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Active Experiencing in Postdramatic Performance: Affective Memory and Quarantine Theatre's Wallflower

Crossley¹

2018

New Theatre Quarterly

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Postdramatic approaches to performance and Stanislavsky's methodology seemingly occupy divergent performance traditions. Nonetheless, both traditions often require performers to mine their own lives (albeit to different ends) and operate in an experiential realm that demands responsiveness to and within the live moment of performing. Tracy Crossley explores this realm through an analysis of Quarantine Theatre's Wallflower (2015), an example of postdramatic practice that blends a poetics of failure with a psycho - physical dramaturgical approach that can be aligned with Stanislavsky's concepts of affective memory and active analysis.Wallflower provides a useful case study of practice that challenges the binary opposition between the dramatic and postdramatic prevalent in theatre and performance studies scholarship. Aspects of Stanislavsky's system, nuanced by cognitive neuroscience, can expand the theorization of postdramatic theatre, which in turn generates techniques that can prove valuable in the rehearsal of dramatic theatre itself. Tracy Crossley is a Senior Lecturer in Theatre and Performance at the University of Salford, Manchester. She is currently developing a practical handbook, Making Postdramatic Theatre, for Digital Theatre Plus.

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“Revolving It All”: Weaves of Memory in Amadeus and Footfalls

Paavolainen

2018

Theatricality and Performativity

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Stanislavsky in Focus

Cited by 62 publications

References 0 publications

Twenty-first-century Russian actor training: Active Analysis in the UK

Twenty-first-century Russian actor training: Active Analysis in the UK

Active Experiencing in Postdramatic Performance: Affective Memory and Quarantine Theatre's Wallflower

“Revolving It All”: Weaves of Memory in Amadeus and Footfalls

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