Constantin Stanislavski

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    Creating A Role by Constantin Stanislavski In his book Building A Character, Constantin Stanislavski gives actors the techniques needed for creating a role. He writes that a fully realized character is born through studying, establishing the life of the role, and transforming the role into physical form. He writes on three main periods: the first being preparation, the second period is the period of emotional experience, and the third period is the embodiment of the role. He compares these periods to relationships and growth that occurs in the normal lives of human beings. The period of preparation is compared to the early courtship between two lovers, emotional experience is compared to the conception and formation of the fruit of their unions,…

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    have decided to talk about actor training that has emerged within the last one hundred years, and you truly can’t talk about popular modern actor training without talking about Constantin Stanislavski, famed Russian actor, director, and teacher, who deeply influenced the theatre of the 20th century. Born Constantin Sergeyvich Alekseyev on January 17th 1863, and died on August 7th 1938. He was born into one Russia’s wealthiest families. During my research, I was surprised to learn that he quit…

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    For many theatre leaders and teachers, there seemed to be a fundamental problem with the way people were acting. The first to actually pinpoint the problem and come up with a solution for it was Konstantin Stanislavski. He, then, laid the foundation for many more students to create their own philosophies. Stanislavski did a number of things to improve the theatre; however, one of the most important things he contributed was method acting. Method acting has shaped the way actors perform and has…

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    I think that it would be fairly difficult to balance concentration on stage with appropriate level of audience awareness as it is difficult to concentrate on the performance without ignoring the audience. In the same way, it would be difficult to focus on the audience without losing concentration of the performance. As Stanislavsky recognised the audience as co-creator of the performances it shows that the audience are very a very important part of theatre and to forget about them during a…

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    Stanislavski's Play

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    Stanislavski was worried that actors would become distracted by the audience. However he did not want them to forget about the audience entirely, because they were a vital part of the performance. On stage, it was common for actors to lose their sense of natural psycho-physical union as they can be under a lot of pressure, when performing in front of thousands of people. Therefore, I feel it could be difficult to balance the concentration on the stage with the appropriate level of awareness of…

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    The Three Sisters Chekhov

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    The Three Sisters by Anton Chekhov is a play that takes place in a 19th century rural town in Russia. The Prosorov siblings, Olga, Masha, Irina and Andrey are unsatisfied with their life in this provincial town, so they dream that one day they will return to Moscow. Moscow symbolises hope for the Prosorovs. They identify Moscow with their happiness in which they feel they can fulfil their dreams. But their constant fantasizing of Moscow makes them neglect their present. There are references to…

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    Stanislavski Konstantin Stanislavski was born on the 5th of January 1863 and he died at the age of 75 and that year was 7th of August 1938. He was born is Moscow and also died in the same city of Moscow and was buried at Novodevichy Cemetery. Stanislavski created a new way to preform acts and other parts of theatre, this way of theatre made its way all over the globe and is now one of the most used ways to preform acts at shows and other places. This new way of preforming was to make the…

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    Concentration is key in performances as the actor should be constantly thinking like the character and not themselves, although they may think there personality is like the character you still have to show it isn't you. By looking at the audience and making them totally aware your doing it is not what a professional actor what's the achieve, although as Stanislavski said ignoring the audience isn't right either, due to them being a 'co-creator' of every performance. I believe that getting the…

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    The Complete Stanislavsky Toolkit The reading for the approach to the rehearsal process continues. The text discussed the importance of the director and their assistance and guidance during the rehearsal process by establishing the aesthetic. After the discussion on the “Method of Physical actions” we moved to a new discussion concerning “Active analysis.” I personally feel that a lot of the material covered from the reading was previously discussed. The text however notes a few differences in…

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    There is a fundamental bittersweetness about life that those attuned to it can find in varying degrees in all worthwhile works of art. This feature is readily apparent in Alexei Ratmansky’s Odessa. Considering its limited time frame, this work persuasively evokes a bygone place and era (the eponymous city in early post-Revolutionary Russia). On the one hand, its mood is somber and disquieting, some of its “action” is distressing, and its male “characters” appear ruffianly and menacing. On the…

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