Stanislavsky's Directing Style Essay

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Into to Making Theatre
Directing Paper: Stanislavski
The beginning of modern directing is commonly associated with Konstantin Stanislavski, a Russian actor, teacher, and director, around the turn of the nineteenth century. Stanislavski is renowned as one of the most innovative directors who stressed ensemble acting and the importance of actors' absolute identification with their roles. Born into an extremely affluent household in Moscow, Russia in 1863, Stanislavski quickly joined a theatrical group organized by his family. Throughout the late 1800’s, Stanislavski rapidly progressed as an actor and eventually began to produce and direct plays. For the next forty years, he fabricated his own approach to acting that highlighted the
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For example, to prepare for a role that involves fear, the actor must resort back to a time where he or she experienced something frightening, and attempt to reenact that fear that they once felt. In doing so, the actor embodies a connection with the character inciting a very psychological experience that makes its way from the brain throughout the body in character development. Another vital element of the internal approach is that actors envision their characters beyond the text they are given, assigning them realistic backgrounds that not only sophisticate the character but also postulate more motivation behind their mannerisms and desires. Not only did Stanislavski introduce a new mode of acting, but he also helped actors find themselves in their characters by developing a method of the psychological approach, adding to his legacy in theatre. Stanislavski, as a pioneer of the realism movement in theatre, was a master of taking intricate details from our daily lives and using them to create the world of his plays. He drew together a vast array of character actions and seemingly smaller plot incidents to formulate the central idea of action in the play, which he referred to as the ‘spine’ of the play (Leach 102). Stanislavski recognized the importance of the audience’s ability to connect to the piece and come away with the message he wanted them to receive from the play. To bring out the spiritual lives of the characters, Stanislavski physicalized small,

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