531:
886:
281:
2117:: "Mr. Strasberg adapted it to the American theatre, imposing his refinements, but always crediting Stanislavsky as his source" (Quoted by Carnicke 1998, 9). Carnicke argues that this "robs Strasberg of the originality in his thinking, while simultaneously obscuring Stanislavsky's ideas" (1997, 9). Neither the tradition that formed in the USSR nor the American Method, Carnicke argues, "integrated the mind and body of the actor, the corporal and the spiritual, the text and the performance as thoroughly or as insistently as did Stanislavsky himself" (1998, 2). For evidence of Strasberg's misunderstanding of this aspect of Stanislavski's work, see Strasberg (2010, 150–151).
495:
support the emergence of an "unbroken line" of experiencing through a performance, which constitutes the inner life of the role. An "unbroken line" describes the actor's ability to focus attention exclusively on the fictional world of the drama throughout a performance, rather than becoming distracted by the scrutiny of the audience, the presence of a camera crew, or concerns relating to the actor's experience in the real world offstage or outside the world of the drama. In a rehearsal process, at first, the "line" of experiencing will be patchy and broken; as preparation and rehearsals develop, it becomes increasingly sustained and unbroken.
646:
447:. How does she do gymnastics or sing little songs? Do your hair in various ways and try to find in yourself things which remind you of Charlotta. You will be reduced to despair twenty times in your search but don't give up. Make this German woman you love so much speak Russian and observe how she pronounces words and what are the special characteristics of her speech. Remember to play Charlotta in a dramatic moment of her life. Try to make her weep sincerely over her life. Through such an image you will discover all the whole range of notes you need.
1386:. The playwright in the novel sees the acting exercises taking over the rehearsals, becoming madcap, and causing the playwright to rewrite parts of his play. The playwright is concerned that his script is being lost in all of this. When he finally sees the play performed, the playwright reflects that the director's theories would ultimately lead the audience to become so absorbed in the reality of the performances that they forget the play. Bulgakov had the actual experience, in 1926, of having a play that he had written,
33:
1032:
728:, had provided the forum in which he developed his initial ideas for his system during the 1910s, he hoped to secure his final legacy by opening another studio in 1935, in which the Method of Physical Action would be taught. The Opera-Dramatic Studio embodied the most complete implementation of the training exercises described in his manuals. Meanwhile, the transmission of his earlier work via the students of the First Studio was revolutionising acting in the
205:
375:" practised by Cocquelin (in which experiencing forms one of the preparatory stages only) and "hack" acting (in which experiencing plays no part). Stanislavski defines the actor's "experiencing" as playing "credibly", by which he means "thinking, wanting, striving, behaving truthfully, in logical sequence in a human way, within the character, and in complete parallel to it", such that the actor begins to feel "as one with" the role.
1339:
779:
1154:, Stanislavski worked with Adler, who had sought his assistance with the blocks she had confronted in her performances. Given the emphasis that emotion memory had received in New York, Adler was surprised to find that Stanislavski rejected the technique except as a last resort. He recommended an indirect pathway to emotional expression via physical action. Stanislavski confirmed this emphasis in his discussions with
986:
Method of
Physical Action. The teachers had some previous experience studying the system as private students of Stanislavski's sister, Zinaïda. His wife, Lilina, also joined the teaching staff. Twenty students (out of 3500 who had auditioned) were accepted for the dramatic section of the Opera—Dramatic Studio, where classes began on 15 November 1935. Its members included the future artistic director of the MAT,
379:
491:". "It is easy," Carnicke warns, "to misunderstand this notion as a directive to play oneself." A human being's circumstances condition his or her character, this approach assumes. "Placing oneself in the role does not mean transferring one's own circumstances to the play, but rather incorporating into oneself circumstances other than one's own."
910:, though it later severed its connection with the theatre. Stanislavski worked with his Opera Studio in the two rehearsal rooms of his house on Carriage Row (prior to his eviction in March 1921). His brother and sister, Vladimir and Zinaïda, ran the studio and also taught there. It accepted young members of the Bolshoi and students from the
1264:. Strasberg, for example, dismissed the "Method of Physical Action" as a step backwards. Just as an emphasis on action had characterised Stanislavski's First Studio training, so emotion memory continued to be an element of his system at the end of his life, when he recommended to his directing students:
769:
in 1913, Stanislavski concluded that "a character is sometimes formed psychologically, i.e. from the inner image of the role, but at other times it is discovered through purely external exploration." In fact
Stanislavski found that many of his students who were "method acting" were having many mental
451:
Exercises such as these, though never seen directly onstage or screen, prepare the actor for a performance based on experiencing the role. Experiencing constitutes the inner, psychological aspect of a role, which is endowed with the actor's individual feelings and own personality. Stanislavski argues
109:
Thanks to its promotion and development by acting teachers who were former students and the many translations of
Stanislavski's theoretical writings, his system acquired an unprecedented ability to cross cultural boundaries and developed a reach, dominating debates about acting in the West. According
619:
The pursuit of one task after another forms a through-line of action, which unites the discrete bits into an unbroken continuum of experience. This through-line drives towards a task operating at the scale of the drama as a whole and is called, for that reason, a "supertask" (or "superobjective"). A
615:
play in private. The cast began with a discussion of what
Stanislavski would come to call the "through-line" for the characters (their emotional development and the way they change over the course of the play). This production is the earliest recorded instance of his practice of analysing the action
423:
The range of training exercises and rehearsal practices that are designed to encourage and support "experiencing the role" resulted from many years of sustained inquiry and experiment. Many may be discerned as early as 1905 in
Stanislavski's letter of advice to Vera Kotlyarevskaya on how to approach
333:
A rediscovery of the 'system' must begin with the realization that it is the questions which are important, the logic of their sequence and the consequent logic of the answers. A ritualistic repetition of the exercises contained in the published books, a solemn analysis of a text into bits and tasks
2488:
In his biography of
Stanislavski, Jean Benedetti writes: "It has been suggested that Stanislavski deliberately played down the emotional aspects of acting because the woman in front of him was already over-emotional. The evidence is against this. What Stanislavski told Stella Adler was exactly what
876:
had nicknamed "Suler", was selected to lead the studio. In a focused, intense atmosphere, its work emphasised experimentation, improvisation, and self-discovery. Until his death in 1938, Suler taught the elements of
Stanislavski's system in its germinal form: relaxation, concentration of attention,
719:
For in the process of action the actor gradually obtains the mastery over the inner incentives of the actions of the character he is representing, evoking in himself the emotions and thoughts which resulted in those actions. In such a case, an actor not only understands his part, but also feels it,
580:
In preparing and rehearsing for a role, actors break up their parts into a series of discrete "bits", each of which is distinguished by the dramatic event of a "reversal point", when a major revelation, decision, or realisation alters the direction of the action in a significant way. (Each "bit" or
486:
Stanislavski's "Magic If" describes an ability to imagine oneself in a set of fictional circumstances and to envision the consequences of finding oneself facing that situation in terms of action. These circumstances are "given" to the actor principally by the playwright or screenwriter, though they
588:
One of the most important creative principles is that an actor's tasks must always be able to coax his feelings, will and intelligence, so that they become part of him, since only they have creative power. The task must provide the means to arouse creative enthusiasm. Like a magnet, it must have
985:
Stanislavski decided that he needed to found a new studio if he was to ensure his legacy. "Our school will produce not just individuals," he wrote, "but a whole company." In June he began to instruct a group of teachers in the training techniques of the 'system' and the rehearsal processes of the
663:
Stanislavski further elaborated his system with a more physically grounded rehearsal process that came to be known after his death as the "Method of
Physical Action". Stanislavski had developed it since 1916, he first explored it practically in the early 1930s. The roots of the Method of Physical
438:
First of all you must live the role without spoiling the words or making them commonplace. Shut yourself off and play whatever goes through your head. Imagine the following scene: Pishchik has proposed to
Charlotta, now she is his bride... How will she behave? Or: Charlotta has been dismissed but
1022:
for their work on roles. He "insisted that they work on classics, because, 'in any work of genius you find an ideal logic and progression.'" He worked with the students in March and April 1937, focusing on their sequences of physical actions, on establishing their through-lines of action, and on
1237:
The relations between these strands and their acolytes, Carnicke argues, have been characterised by a "seemingly endless hostility among warring camps, each proclaiming themselves his only true disciples, like religious fanatics, turning dynamic ideas into rigid dogma." Stanislavski's Method of
1233:
Though many others have contributed to the development of method acting, Strasberg, Adler, and
Meisner are associated with "having set the standard of its success", though each emphasised different aspects: Strasberg developed the psychological aspects, Adler, the sociological, and Meisner, the
134:
The script meant less than nothing. Sometimes the cast did not even bother to learn their lines. Leading actors would simply plant themselves downstage centre, by the prompter's box, wait to be fed the lines then deliver them straight at the audience in a ringing voice, giving a fine display of
494:
In preparation and rehearsal, the actor develops imaginary stimuli, which often consist of sensory details of the circumstances, in order to provoke an organic, subconscious response in performance. These "inner objects of attention" (often abbreviated to "inner objects" or "contacts") help to
97:
Later, Stanislavski further elaborated what he called 'the System' with a more physically grounded rehearsal process that came to be known as the "Method of Physical Action". Minimising at-the-table discussions, he now encouraged an "active representative", in which the sequence of dramatic
196:
Throughout his career, Stanislavski subjected his acting and direction to a rigorous process of artistic self-analysis and reflection. His system of acting developed out of his persistent efforts to remove the blocks that he encountered in his performances, beginning with a
593:
The task sparks off wishes and inner impulses (spurs) toward creative effort. The task creates the inner sources which are transformed naturally and logically into action. The task is the heart of the bit, that makes the pulse of the living organism, the role,
1001:
Jean Benedetti argues that the course at the Opera—Dramatic Studio is "Stanislavski's true testament." Stanislavski arranged a curriculum of four years of study that focused exclusively on technique and method—two years of the work detailed later in
130:(MAT) and began his professional career. The two of them were resolved to institute a revolution in the staging practices of the time. Benedetti offers a vivid portrait of the poor quality of mainstream theatrical practice in Russia before the MAT:
1783:
as being capable of the creation of genuine works of art, he rejects its technique as "either too showy or too superficial" to be capable of the "expression of deep passions" and the "subtlety and depth of human feelings"; see Stanislavski (1938,
1594:) survived into Stanislavski's system, while the exclusively external technique did not; although his work shifted from a director-centred to an actor-centred approach, his system nonetheless valorises the absolute authority of the director.
941:, with its inescapable conventionality, would demonstrate the universality of his methodology. From his experience at the Opera Studio he developed his notion of "tempo-rhythm", which he was to develop most substantially in part two of
581:"beat" corresponds to the length of a single motivation . The term "bit" is often mistranslated in the US as "beat", as a result of its pronunciation in a heavy Russian accent by Stanislavski's students who taught his system there.)
795:
I may add that it is my firm conviction that it is impossible today for anyone to become an actor worthy of the time in which he is living, an actor on whom such great demands are made, without going through a course of study in a
1930:
Benedetti (1999a, 202). Benedetti argues that Stanislavski "never succeeded satisfactorily in defining the extent to which an actor identifies with his character and how much of the mind remains detached and maintains theatrical
1565:
Benedetti (1989, 18, 22—23), (1999a, 42), and (1999b, 257), Carnicke (2000, 29), Gordon (2006, 40—42), Leach (2004, 14), and Magarshack (1950, 73—74). As Carnicke emphasises, Stanislavski's early prompt-books, such as that for
877:
imagination, communication, and emotion memory. On becoming independent from the MAT in 1923, the company re-named itself the Second Moscow Art Theatre, though Stanislavski came to regard it as a betrayal of his principles.
1620:
Bablet (1962, 134), Benedetti (1989, 23—26) and (1999a, 130), and Gordon (2006, 37—42). Carnicke emphasises the fact that Stanislavski's great productions of Chekhov's plays were staged without the use of his system (2000,
506:." Stanislavski used the term "I am being" to describe it. He encouraged this absorption through the cultivation of "public solitude" and its "circles of attention" in training and rehearsal, which he developed from the
2008:
Benedetti (1998, 104) and (1999a, 356, 358). Gordon argues the shift in working-method happened during the 1920s (2006, 49—55). Vasili Toporkov, an actor who trained under Stanislavski in this approach, provides in his
1630:
Benedetti (1989, 25—39) and (1999a, part two), Braun (1982, 62—63), Carnicke (1998, 29) and (2000, 21—22, 29—30, 33), and Gordon (2006, 41—45). For an explanation of "inner action", see Stanislavski (1957, 136); for
1158:
in late 1935. The news that this was Stanislavski's approach would have significant repercussions in the US; Strasberg angrily rejected it and refused to modify his approach. Adler's most famous student was actor
1970:
Carnicke (2000, 30—31), Gordon (2006, 45—48), Leach (2004, 16—17), Magarshack (1950, 304—306), and Worrall (1996, 181—182). In his notes on the production's rehearsals, Stanislavski wrote that: "There will be no
1778:
for a fuller discussion of the different uses of these terms. In addition, for Stanislavski's conception of "experiencing the role" see Carnicke (1998), especially chapter five. While Stanislavski recognises the
2238:
683:
Benedetti emphasises the continuity of the Method of Physical Action with Stanislavski's earlier approaches; Whyman argues that "there is no justification in Stanislavsky's writings for the assertion that the
157:
in detail in advance. He also introduced into the production process a period of discussion and detailed analysis of the play by the cast. Despite the success that this approach brought, particularly with his
2241:. Nemirovich had created the Moscow Art Theatre Music Studio in 1919, though Stanislavski had no connection to it; see Benedetti (1999, 211; 255), Leach (2004, 20), and Stanislavski and Rumyantsev (1975, x).
905:
Benedetti argues that a significant influence on the development of Stanislavski's system came from his experience teaching and directing at his Opera Studio. He created it in 1918 under the auspices of the
2067:
Benedetti (1998, xii) and (1999a, 359—363) and Magarshack (1950, 387—391), and Whyman (2008, 136). Benedetti argues that the course at the Opera-Dramatic Studio is "Stanislavski's true testament". His book
367:
over the role emotion ought to play—whether it should be experienced only in rehearsals when preparing the role (Cocquelin's position) or whether it ought to be felt in performance (Salvini's position).
359:
Not all emotional experiences are appropriate, therefore, since the actor's feelings must be relevant and parallel to the character's experience. Stanislavski identified Salvini, whose performance of
94:
behaviour—sympathetically and indirectly. In rehearsal, the actor searches for inner motives to justify action and the definition of what the character seeks to achieve at any given moment (a "task").
420:
of their effects. Stanislavski recognised that in practice a performance is usually a mixture of the three trends (experiencing, representation, hack) but felt that experiencing should predominate.
334:
will not ensure artistic success, let alone creative vitality. It is the Why? and What for? that matter and the acknowledgement that with every new play and every new role the process begins again.
1234:
behavioral. While each strand of the American tradition vigorously sought to distinguish itself from the others, they all share a basic set of assumptions that allows them to be grouped together.
569:
An actor's performance is animated by the pursuit of a sequence of "tasks" (identified in Elizabeth Hapgood's original English translation as "objectives"). A task is a problem, embedded in the "
2212:
277:—resented Stanislavski's use of it as a laboratory in which to conduct his experiments. At Stanislavski's insistence, the MAT went on to adopt his system as its official rehearsal method in 1911.
135:
passion and "temperament." Everyone, in fact, spoke their lines out front. Direct communication with the other actors was minimal. Furniture was so arranged as to allow the actors to face front.
623:
In his later work, Stanislavski focused more intently on the underlying patterns of dramatic conflict. He developed a rehearsal technique that he called "active analysis" in which actors would
755:
approach of the "system", which explores character and action both from the 'inside out' and the 'outside in' and treats the actor's mind and body as parts of a continuum. In response to his
452:
that this creation of an inner life should be the actor's first concern. He groups together the training exercises intended to support the emergence of experiencing under the general term "
2233:
The studio underwent a series of name-changes as it developed into a full-scale company: in 1924 it was renamed the "Stanislavski Opera Studio"; in 1926 it became the "Stanislavski Opera
1238:
Physical Action formed the central part of Sonia Moore's attempts to revise the general impression of Stanislavski's system arising from the American Laboratory Theatre and its teachers.
487:
also include choices made by the director, designers, and other actors. The ensemble of these circumstances that the actor is required to incorporate into a performance are called the "
3479:
598:
110:
to one writer on twentieth-century theatre in London and New York, Stanislavski’s ideas have become accepted as common sense so that actors may use them without knowing that they do.
2289:
Leach (2004, 51–52) and Benedetti (1999, 256, 259); see Stanislavski (1950). Konkordia Antarova made the notes on Stanislavski's teaching, which his sister Zinaïda located in 1938.
473:, all the rest is mine, my own concerns, as a role in all its creative moments depends on a living person, i.e., the actor, and not the dead abstraction of a person, i.e., the role.
1249:
accounts of Stanislavski's work (according to which early experiments in emotion memory were 'abandoned' and the approach 'reversed' with a discovery of the scientific approach of
469:, then I do something, I am living my own personal life. At moments like that there is no character. Only me. All that remains of the character and the play are the situation, the
1023:
rehearsing scenes anew in terms of the actors' tasks. "They must avoid at all costs," Benedetti explains, "merely repeating the externals of what they had done the day before."
530:
830:
and exploratory work could be undertaken in isolation from the public, in order to develop new forms and techniques. Stanislavski later defined a theatre studio as "neither a
263:
and the independent theatre movement. Stanislavski's earliest reference to his system appears in 1909, the same year that he first incorporated it into his rehearsal process.
1775:
1680:
Benedetti (1989, 5—11, 15, 18) and (1999b, 254), Braun (1982, 59), Carnicke (2000, 13, 16, 29), Counsell (1996, 24), Gordon (2006, 38, 40—41), and Innes (2000, 53—54).
181:
encouraged a greater attention to "inner action" and a more intensive investigation of the actor's process. He began to develop the more actor-centred techniques of "
2592:). Carnicke writes: "Just as it is 'true' for Stanislavsky that action is central to theatre, so is it 'true' that emotion is central to his System "; (1998, 151).
3022:
Mirodan, Vladimir. 1997. "The Way of Transformation: The Laban—Malmgren System of Dramatic Character Analysis." Diss. University of London: Royal Holloway College.
1382:
satires of Stanislavski's methods and theories. In the novel, the stage director, Ivan Vasilyevich, uses acting exercises while directing a play, which is titled
1241:
Carnicke analyses at length the splintering of the system into its psychological and physical components, both in the US and the USSR. She argues instead for its
885:
3338:
2224:
Benedetti (1999, 259). Gauss argues that "the students of the Opera Studio attended lessons in the "system" but did not contribute to its forulation" (1999, 4).
2207:
Benedetti (1999, 365), Solovyova (1999, 332—333), and Cody and Sprinchorn (2007, 927). Michael Chekhov led the company between 1924 and 1928. A decision by the
1268:
One must give actors various paths. One of these is the path of action. There is also another path: you can move from feeling to action, arousing feeling first.
607:(1909) was a watershed in his artistic development, constituting, according to Magarshack, "the first play he produced according to his system." Breaking the
3500:
2465:, who also founded a theatre studio in the US, came to reject the use of the actor's emotion memory in his later work as well; see Chamberlain (2000, 80–81).
1567:
1253:). These accounts, which emphasised the physical aspects at the expense of the psychological, revised the system in order to render it more palatable to the
284:
2081:
Carnicke (1998, 1, 167) and (2000, 14), Counsell (1996, 24—25), Golub (1998, 1032), Gordon (2006, 71—72), Leach (2004, 29), and Milling and Ley (2001, 1—2).
664:
Action stretch back to Stanislavski's earliest work as a director (in which he focused consistently on a play's action) and the techniques he explored with
2215:
closed the theatre in 1936, to the bewilderment of its members. See Cody and Sprinchorn (2007, 927), Solovyova (1999, 331–332), and Benedetti (1999, 365).
1644:
Benedetti (1989, 30) and (1999a, 181, 185—187), Counsell (1996, 24—27), Gordon (2006, 37—38), Magarshack (1950, 294, 305), and Milling and Ley (2001, 2).
1303:
as a means to explore character and situation and insisted that her actors define their character's behaviour in terms of a sequence of tasks. The actor
620:
performance consists of the inner aspects of a role (experiencing) and its outer aspects ("embodiment") that are united in the pursuit of the supertask.
978:(now known as "Stanislavski Lane"), under the auspices of which between 1935 and 1938 he offered a significant course in the system in its final form.
498:
When experiencing the role, the actor is fully absorbed by the drama and immersed in its fictional circumstances; it is a state that the psychologist
1981:
and intonations. The whole production is woven from the sense-impressions and feelings of the author and the actors."; quoted by Worrall (1996, 192).
348:
This system is based on "experiencing a role." This principle demands that as an actor, you should "experience feelings analogous" to those that the
3383:
280:
3492:
78:
developed in the first half of the twentieth century. His system cultivates what he calls the "art of experiencing" (with which he contrasts the "
1257:
of the Soviet state. In a similar way, other American accounts re-interpreted Stanislavski's work in terms of the prevailing popular interest in
1147:. Boleslavsky thought that Strasberg over-emphasised the role of Stanislavski's technique of "emotion memory" at the expense of dramatic action.
1272:"Action, 'if', and 'given circumstances'", "emotion memory", "imagination", and "communication" all appear as chapters in Stanislavski's manual
139:
Stanislavski's early productions were created without the use of his system. His first international successes were staged using an external,
3263:
3230:
3215:
2837:
2718:
1040:
1770:
Counsell (1996, 25–26). Despite this distinction, however, Stanislavskian theatre, in which actors "experience" their roles, remains "
363:
he had admired in 1882, as the finest representative of the art of experiencing approach. Salvini had disagreed with the French actor
3331:
3279:
3245:
3197:
3179:
3161:
3143:
3125:
3107:
3089:
3071:
3052:
3034:
3016:
3001:
2986:
2968:
2953:
2932:
2917:
2899:
2884:
2869:
2851:
2822:
2796:
2778:
2763:
2748:
2733:
2208:
2237:"; in 1928 it became the Stanislavski Opera Theatre; and in 1941 the theatre merged with Nemirovich's music studio to become the
645:
707:
Minimising at-the-table discussions, he now encouraged an "active analysis", in which the sequence of dramatic situations are
573:" of a scene, that the character needs to solve. This is often framed as a question: "What do I need to make the other person
1461:'s "actor of reason" and his "art of experiencing" corresponds to Shchepkin's "actor of feeling"; see Benedetti (1999a, 202).
515:
2099:
Benedetti (2005, 147–148), Carnicke (1998, 1, 8) and Whyman (2008, 119–120). Not only actors are subject to this confusion;
356:
when he insists that actors should really feel what they portray "at every performance, be it the first or the thousandth."
3311:
1977:. A bench or divan at which people arrive, sit and speak—no sound effects, no details, no incidentals. Everything based on
247:
methodology, which built on three major strands of influence: (1) the director-centred, unified aesthetic and disciplined,
1841:
1604:
1284:
956:(1950). Pavel Rumiantsev—who joined the studio in 1920 from the Conservatory and sang the title role in its production of
603:
547:
273:
123:
1805:; Benedetti, for example, explains that "Stanislavski merely meant those regions of the mind which are not accessible to
1517:
Benedetti (1999a, 355—256), Carnicke (2000, 32—33), Leach (2004, 29), Magarshack (1950, 373—375), and Whyman (2008, 242).
688:
represents a rejection of his previous work". Stanislavski first explored the approach practically in his rehearsals for
3324:
1793:
Benedetti (1999a, 169) and Counsell (1996, 27). Many scholars of Stanislavski's work stress that his conception of the "
1607:
found they had this practice in common during their legendary 18-hour conversation that led to the establishment of the
1065:
3529:
1093:
987:
584:
A task must be engaging and stimulating imaginatively to the actor, Stanislavski argues, such that it compels action:
1206:, where he developed an emphasis on what Stanislavski called "communication" and "adaptation" in an approach that he
1092:—"grounded careers in brief periods of study" with him. Boleslavsky and Ouspenskaya went on to found the influential
962:
in 1922—documented its activities until 1932; his notes were published in 1969 and appear in English under the title
364:
2784:
Benedetti, Jean. 1999b. "Stanislavsky and the Moscow Art Theatre, 1898–1938". In Leach and Borovsky (1999, 254–277).
3524:
1813:. It had nothing to do with notions of latent content advanced by Freud, whose works he did not know" (1999a, 169).
1163:. Later, many American and British actors inspired by Brando were also adepts of Stanislavski teachings, including
1112:, sustained and developed his rehearsal process of "active analysis", despite its formal prohibition by the state.
751:, although the latter's exclusively psychological techniques contrast sharply with the multivariant, holistic and
1415:
1400:
894:
2566:, he make it clear in his books that he thinks that the philosophical foundations of Stanislavski's work lie in
1653:
Carnicke (2000, 13), Gauss (1999, 3), Gordon (2006, 45—46), Milling and Ley (2001, 6), and Rudnitsky (1981, 56).
659:, which offers the first exposition of what came to be known as his Method of Physical Action rehearsal process.
1120:
1104:(1933) played a significant role in the transmission of Stanislavski's ideas and practices to the West. In the
1045:
1010:. Once the students were acquainted with the training techniques of the first two years, Stanislavski selected
32:
1311:
in the country to teach an approach to acting based on Stanislavski's system and its American derivatives was
260:
3347:
3185:
3167:
3149:
3131:
3113:
3095:
3077:
1254:
1031:
819:
801:
783:
650:
561:
534:
499:
478:
382:
340:
300:
198:
75:
37:
1203:
1168:
3373:
1780:
1771:
1454:
958:
948:
A series of thirty-two lectures that he delivered to this studio between 1919 and 1922 were recorded by
765:
627:
these conflictual dynamics. In the American developments of Stanislavski's system—such as that found in
372:
256:
79:
3302:
90:
in order to activate other, less-controllable psychological processes—such as emotional experience and
975:
3461:
3306:
1319:
865:
839:
725:
690:
371:
On this basis, Stanislavski contrasts his own "art of experiencing" approach with what he calls the "
232:
190:
189:. He pioneered the use of theatre studios as a laboratory in which to innovate actor training and to
159:
72:
2610:
See Stanislavski (1938), chapters three, nine, four, and ten respectively, and Carnicke (1998, 151).
2329:
Benedetti (1999a, 360) and Magarshack (1950, 388–391). Stanislavski taught them again in the autumn.
3378:
3297:
3172:
Stanislavski's Legacy: A Collection of Comments on a Variety of Aspects of an Actor's Art and Life.
2679:, essentialist treatment; see Mirodan (1997, 136—170). The school's work also draws on the work of
2652:
2058:
Benedetti (1999a, 359—360), Golub (1998, 1033), Magarshack (1950, 387—391), and Whyman (2008, 136).
1410:
1312:
1081:
1069:
981:
Given the difficulties he had with completing his manual for actors, in 1935 while recuperating in
911:
851:
712:
570:
488:
103:
2857:
Carnicke, Sharon M. 2000. "Stanislavsky's System: Pathways for the Actor". In Hodge (2000, 11–36).
2090:
Benedetti (1999a, 354—355), Carnicke (1998, 78, 80) and (2000, 14), and Milling and Ley (2001, 2).
3487:
3398:
2109:
1608:
949:
869:
859:
843:
815:
741:
669:
665:
633:
608:
430:
308:
292:
252:
216:
127:
3174:
Ed. and trans. Elizabeth Reynolds Hapgood. Revised and expanded edition. London: Methuen, 1981.
2013:(2004) a detailed account of the Method of Physical Action at work in Stanislavski's rehearsals.
2789:
The Art of the Actor: The Essential History of Acting, From Classical Times to the Present Day.
1139:, Strasberg developed the earliest of Stanislavski's techniques into what came to be known as "
974:
Near the end of his life Stanislavski created an Opera—Dramatic Studio in his own apartment on
637:, for example—the forces opposing a characters' pursuit of their tasks are called "obstacles".
3454:
3275:
3259:
3241:
3226:
3211:
3193:
3175:
3157:
3139:
3121:
3103:
3085:
3067:
3048:
3030:
3012:
2997:
2982:
2964:
2949:
2941:
Krasner, David. 2000. "Strasberg, Adler and Meisner: Method Acting". In Hodge (2000, 129–150).
2928:
2913:
2895:
2880:
2865:
2847:
2833:
2818:
2792:
2774:
2759:
2744:
2729:
2714:
1810:
1458:
1405:
1211:
1073:
930:
855:
823:
733:
503:
405:
401:
224:
204:
182:
87:
3368:
3363:
3154:
An Actor's Handbook: An Alphabetical Arrangement of Concise Statements on Aspects of Acting.
2974:
2684:
2668:
2664:
1973:
1794:
1576:
1369:
1304:
1296:
1242:
1192:
1018:
934:
890:
756:
752:
444:
349:
178:
153:
148:
140:
2905:
Golub, Spencer. 1998. "Stanislavsky, Konstantin (Sergeevich)". In Banham (1998, 1032–1033).
1662:
Benedetti (1989, 1) and (2005, 109), Gordon (2006, 40—41), and Milling and Ley (2001, 3—5).
770:
problems, and instead encouraged his students to shake off the character after rehearsing.
591:
The task is the spur to creative activity, its motivation. The task is a decoy for feeling.
3468:
3415:
2680:
2490:
2462:
2290:
1590:
1323:
1288:
1136:
1132:
1077:
915:
907:
847:
729:
453:
389:
353:
144:
119:
41:
1374:
518:
with the role, however, since a genuine belief that one had become someone else would be
778:
3447:
3403:
2574:
2563:
2234:
1585:
1420:
1261:
1245:
integration. She suggests that Moore's approach, for example, accepts uncritically the
1227:
1196:
1184:
1176:
1155:
1128:
831:
412:
techniques. In this way, it attempts to recreate in the actor the inner, psychological
378:
2489:
he had been telling his actors at home, what indeed he had advocated in his notes for
1338:
893:, whose approach Stanislavski hoped to combine with his system, in order to prove its
3518:
3203:
2810:
2114:
2100:
1806:
1802:
1300:
1258:
1215:
1202:
Meisner, an actor at the Group Theatre, went on to teach method acting at New York's
1188:
1180:
1160:
1144:
1140:
1124:
1116:
1097:
1057:
1053:
1035:
748:
708:
677:
624:
612:
425:
409:
268:
248:
236:
163:
99:
83:
1505:
Benedetti (1999a, 325, 360) and (2005, 121) and Roach (1985, 197—198, 205, 211—215).
551:(1909), the earliest recorded instance of the analysis of action in discrete "bits".
3430:
3393:
2894:. American University Studies ser. 26 Theatre Arts, vol. 29. New York: Peter Lang.
2860:
Carnicke, Sharon Marie. 2010. "The Knebel Technique: Active Analysis in Practice."
2656:
1798:
1308:
1292:
1223:
1109:
1105:
1089:
1085:
835:
737:
538:
316:
264:
91:
17:
2938:
Knebel, Maria. 2016. "Active Analysis of the Play and the Role." In Thomas (2016).
1143:" (or, with Strasberg, more usually simply "the Method"), which he taught at the
52:) aspects of a role uniting in the pursuit of a character's overall "supertask" (
3047:. Theater:Theory/Text/Performance Ser. Ann Arbor: University of Michigan Press.
2676:
2567:
1774:" in the broader critical sense; see Stanislavski (1938, 22–27) and the article
1250:
873:
711:. "The best analysis of a play", Stanislavski argued, "is to take action in the
673:
208:
167:
102:. "The best analysis of a play", Stanislavski argued, "is to take action in the
589:
great drawing power and must then stimulate endeavours, movements and actions.
3253:
The Stanislavsky System of Acting: Legacy and Influence in Modern Performance.
2162:
Stanislavski, quoted by Magarshack (1950, 78); see also Benedetti (1999, 209).
1219:
1164:
1049:
995:
842:
of more or less trained actors." The First Studio's founding members included
760:
556:
Action is the very basis of our art, and with it our creative work must begin.
507:
417:
122:
actor and director until the age of 33, in 1898 Stanislavski co-founded with
3293:
922:
and Lev Pospekhin (from the Bolshoi Ballet) to teach expressive movement and
352:
experiences "each and every time you do it." Stanislavski approvingly quotes
2672:
2660:
1538:
Carnicke (1998, 1, 167), Counsell (1996, 24), and Milling and Ley (2001, 1).
1489:
1453:
Benedetti (1999a, 201), Carnicke (2000, 17), and Stanislavski (1938, 16—36 "
1425:
1307:
was also an early advocate of Stanislavski's approach in Britain. The first
1246:
1172:
790:
institution in which elements of the system were first developed and taught.
628:
519:
413:
3316:
2126:
From a note in the Stanislavski archive, quoted by Benedetti (1999a, 216).
1390:, directed with great success by Stanislavski at the Moscow Arts Theatre.
2104:
991:
827:
787:
243:
Stanislavski eventually came to organise his techniques into a coherent,
228:
186:
2773:. Revised edition. Original edition published in 1988. London: Methuen.
2743:. Revised edition. Original edition published in 1982. London: Methuen.
1490:"BBC Radio 4 - Michael Sheen Gets into Character, from System to Method"
1326:
regarded Stanislavski as the primary influence on his own theatre work.
1080:, Andrius Jilinsky, Leo Bulgakov, Varvara Bulgakov, Vera Solovyova, and
3388:
3120:. Trans. and ed. Jean Benedetti. London and New York: Routledge, 2010.
3084:. Trans. and ed. Jean Benedetti. London and New York: Routledge, 2008.
2663:
to produce a "movement psychology" for the analysis and development of
2495:
1632:
1581:
919:
655:
393:
386:
360:
174:
1299:, the experimental studio that they founded together, Littlewood used
1295:
were the first to introduce Stanislavski's techniques there. In their
185:" and his focus shifted from his productions to rehearsal process and
2655:'s approach combines Stanislavski's system with the movement work of
2588:
2570:
1990:
Benedetti (1999a, 190), Leach (2004, 17), and Magarshack (1950, 305).
1277:
1012:
858:, all of whom would exert a considerable influence on the subsequent
696:
680:
and the practice of anatomising scripts in terms of bits and tasks).
440:
296:
244:
64:
3040:
Postlewait, Thomas. 1998. "Meisner, Sanford". In Banham (1998, 719).
2994:
Masters of the Stage: British Acting Teachers Talk About Their Craft
2846:. Russian Theatre Archive Ser. London: Harwood Academic Publishers.
173:
Both his struggles with Chekhov's drama (out of which his notion of
2877:
Signs of Performance: An Introduction to Twentieth-Century Theatre.
2239:
Stanislavski and Nemirovich-Danchenko Moscow Academic Music Theatre
2144:
Gauss (1999, 34), Whymann (2008, 31), and Benedetti (1999, 209—11).
1862:
Letter to Gurevich, 9 April 1931; quoted by Benedetti (1999a, 338).
720:
and that is the most important thing in creative work on the stage.
223:) and other members of the First Studio, an institution devoted to
40:'s system, based on his "Plan of Experiencing" (1935), showing the
3156:
Ed. and trans. Elizabeth Reynolds Hapgood. London: Methuen, 1990.
3062:
Trans. George Petrov. Ed. Sydney Schultze. Revised translation of
1207:
1151:
1030:
938:
923:
898:
884:
644:
529:
377:
279:
203:
68:
2892:
Lear's Daughters: The Studios of the Moscow Art Theatre 1905–1927
2832:. Trans. Michael Glenny. Melville House; Reprint edition, 2013.
1671:
Benedetti (1989, 1), Gordon (2006, 42—43), and Roach (1985, 204).
952:
and published in 1939; they have been translated into English as
147:—in each production he planned the interpretation of every role,
2671:
differs significantly from Stanislavski's, moving away from his
1584:" (2000, 29). The principle of a unity of all elements (or what
982:
929:
By means of his system, Stanislavski aimed to unite the work of
724:
Just as the First Studio, led by his assistant and close friend
511:
3320:
1100:, which they modeled on the First Studio. Boleslavsky's manual
2910:
The Purpose of Playing: Modern Acting Theories in Perspective.
2320:
Letter to Elizabeth Hapgood, quoted in Benedetti (1999a, 363).
1333:
744:
and Stanislavski's system were enthroned as exemplary models.
2562:
Though Strasberg's own approach demonstrates a clear debt to
826:
and develop his system. It was conceived as a space in which
3192:
Trans. Elizabeth Reynolds Hapgood. London: Routledge, 1998.
1322:
have been influenced by Stanislavski's ideas and practices.
1150:
Every afternoon for five weeks during the summer of 1934 in
1064:
Many of Stanislavski's former students taught acting in the
1056:, the American development of Stanislavski's system, in the
937:. He hoped that the successful application of his system to
774:
Theatre studios and the development of Stanislavski's system
998:'s play (which, after Stanislavski's death, he completed).
3274:
Theatre Production Studies ser. London and NY: Routledge.
1280:
whole of his approach, which resists easy schematisation.
747:
Many actors routinely equate his system with the American
3420:
3138:
Trans. Elizabeth Reynolds Hapgood. London: Mentor, 1968.
3009:
Modern Theories of Performance: From Stanislavski to Boal
2153:
Benedetti (1999, 155–156, 209) and Gauss (1999, 111–112).
1725:
Milling and Ley (2001, 7) and Stanislavski (1938, 16–36).
1214:". Among the actors trained in the Meisner technique are
2815:
The Director and the Stage: From Naturalism to Grotowski
1844:
1 July] 1905; quoted by Benedetti (1999a, 168).
396:) to be the finest example of the "art of experiencing".
2337:
2335:
1350:
897:
in the crucible of the artifice and conventionality of
3045:
The Player's Passion: Studies in the Science of Acting
2452:
Krasner (2000, 129—150) and Milling and Ley (2001, 4).
2072:(1998) offers a reconstruction of the studio's course.
3223:
A Director's Guide to Stanislavsky's Active Analysis.
2864:
Ed. Alison Hodge. 2nd ed. London: Routledge. 99—116.
2434:
Benedetti (1999a, 283, 286) and Gordon (2006, 71—72).
1115:
In the United States, one of Boleslavsky's students,
408:
processes sympathetically and indirectly by means of
3027:
Training an Actor: The Stanislavski System in Class.
267:
and many of the other MAT actors in that production—
3478:
3439:
3354:
2517:
Krasner (2000, 142–146) and Postlewait (1998, 719).
2311:Benedetti (1999a, 359) and Magarshack (1950, 387).
1853:Counsell (1996, 26–27) and Stanislavski (1938, 19)
1761:Stanislavski (1938, 19) and Benedetti (1999a, 18).
3011:. Basingstoke, Hampshire and New York: Palgrave.
2475:
2473:
2471:
1840:Letter to Vera Kotlyarevskaya, 13 July [
1776:Presentational acting and Representational acting
1108:, meanwhile, another of Stanislavski's students,
3102:. Trans. David Magarshack. London: Faber, 2002.
2804:American Film Acting: The Stanislavski Heritage.
1513:
1511:
2959:Leach, Robert, and Victor Borovsky, eds. 1999.
2806:Studies in Cinema 28. Ann Arbor, MI: UMI Press.
2713:Trans. Daphne Woodward. London: Methuen, 1981.
2391:
2389:
2387:
2302:Benedetti (1998, xii-xiii) and (1999, 359–360).
2180:Benedetti (1999a, 209) and Leach (2004, 17—18).
2049:Stanislavski, quoted by Magarshack (1950, 375).
1952:Stanislavski, quoted by Magarshack (1950, 397).
793:
554:
463:
400:Stanislavski's approach seeks to stimulate the
331:
2381:(1998) offers a reconstruction of that course.
2031:Benedetti (1999a, 360) and Whyman (2008, 247).
1822:Benedetti (2005, 124) and Counsell (1996, 27).
143:-centred technique that strove for an organic
3332:
2642:Benedetti (1999a, xiii) and Leach (2004, 46).
2479:Benedetti (1999a, 351) and Gordon (2006, 74).
1872:
1870:
1868:
1444:Whyman (2008, 38–42) and Carnicke (1998, 99).
611:'s tradition of open rehearsals, he prepared
8:
2293:edited them and they were published in 1939.
2171:Benedetti (1999a, 210) and Gauss (1999, 32).
2113:credited Stanislavski with the invention of
1999:Leach (2004, 17) and Magarshack (1950, 307).
1921:Leach (2004, 32) and Magarshack (1950, 322).
1603:Milling and Ley (2001, 5). Stanislavski and
1204:Neighborhood Playhouse School of the Theatre
299:, was staged without the use of his system;
3312:Routledge Performance Archive: Stanislavski
3238:Stanislavski in Rehearsal: The Final Years.
1689:Carnicke (1998, 72) and Whyman (2008, 262).
994:in Stanislavski's unfinished production of
3339:
3325:
3317:
1525:
1523:
1283:Stanislavski's work made little impact on
514:. Stanislavski did not encourage complete
2946:Makers of Modern Theatre: An Introduction
2912:Ann Arbor: University of Michigan Press.
3240:Trans. Jean Benedetti. London: Methuen.
2413:Blum (1984, 63) and Hayward (1996, 216).
2213:Central Committee of the Communist Party
838:for beginners, but a laboratory for the
777:
31:
2963:Cambridge: Cambridge University Press.
2809:Braun, Edward. 1982. "Stanislavsky and
2728:Cambridge: Cambridge University Press.
2667:. As a result, though, its approach to
2629:
2627:
2625:
2553:Carnicke (1998, 149—) and Moore (1968).
2276:
2274:
2264:
2262:
2260:
2258:
2256:
1939:
1937:
1437:
668:and later with the First Studio of the
416:of behaviour, rather than to present a
285:Stanislavski's production of Chekhov's
255:; (2) the actor-centred realism of the
3255:Cambridge: Cambridge University Press.
1739:
1737:
1735:
1733:
1731:
1501:
1499:
259:; and (3) the Naturalistic staging of
170:, Stanislavski remained dissatisfied.
3408:
3066:. Moscow: Academy of Sciences, 1969.
3007:Milling, Jane, and Graham Ley. 2001.
2421:
2419:
653:in his 1929—1930 production plan for
7:
3100:Stanislavsky on the Art of the Stage
1330:Criticism of Stanislavski's theories
1276:(1938) and all were elements of the
616:of the script into discrete "bits".
465:When I give a genuine answer to the
460:Given circumstances and the Magic If
191:experiment with new forms of theatre
3210:Ed. Lola Cohen. London: Routledge.
2711:The Theatre of Edward Gordon Craig.
1635:, see Stanislavski (1938, 402—413).
339:Jean Benedetti, acting teacher and
3236:Toporkov, Vasily Osipovich. 2001.
3082:An Actor's Work: A Student's Diary
2927:. London and New York: Routledge.
1315:, where it is still taught today.
177:emerged) and his experiments with
25:
3501:Moscow Art Theatre production of
3493:Moscow Art Theatre production of
1574:, "describe movements, gestures,
1135:. Together with Stella Adler and
404:to create afresh and to activate
3294:The Stanislavsky Research Centre
2981:London and Boston: Faber, 1986.
2925:Twentieth-Century Actor Training
2879:London and New York: Routledge.
2377:Benedetti (1998, xii). His book
1337:
818:(MAT) was a theatre studio that
2726:The Cambridge Guide to Theatre.
2601:Quoted by Carnicke (1998, 151);
1529:Quoted by Carnicke (1998, 156).
3188:, and Pavel Rumyantsev. 1975.
2996:. New York: Grove Weidenfeld.
2830:Black Snow (Театральный роман)
2771:Stanislavski: His Life and Art
2659:and the character typology of
2499:"; see Benedetti (1999a, 351).
1380:Black Snow (Театральный роман)
868:, who had been Stanislavski's
676:(such as the experiments with
114:Stanislavski before his system
1:
3058:Rudnitsky, Konstantin. 1981.
2961:A History of Russian Theatre.
2741:Stanislavski: An Introduction
1372:, writing in the manner of a
1102:Acting: The First Six Lessons
124:Vladimir Nemirovich-Danchenko
82:"). It mobilises the actor's
3029:New York: The Viking Press.
2040:Benedetti (1999a, 356, 358).
1831:Benedetti (1999a, 202, 342).
1801:", "superconscious") is pre-
914:. Stanislavski also invited
822:created in 1912 in order to
439:finds other employment in a
2508:Benedetti (1999a, 351—352).
2493:in the production plan for
2404:Benedetti (1999a, 368–369).
2359:Benedetti (1999a, 362–363).
1716:Benedetti (1999a, 376–377).
1479:Benedetti (1999a, 182—183).
1094:American Laboratory Theatre
1052:, exemplified the power of
3546:
2842:Carnicke, Sharon M. 1998.
2756:Stanislavski and the Actor
2724:Banham, Martin, ed. 1998.
2651:Mekler (1989, 69; 73—75).
2379:Stanislavski and the Actor
2368:Solovyova (1999, 355–356).
2070:Stanislavski and the Actor
1707:Milling and Ley (2001, 6).
1119:, went on to co-found the
1004:An Actor's Work on Himself
686:method of physical actions
3118:An Actor's Work on a Role
2923:Hodge, Alison, ed. 2000.
2011:Stanislavski in Rehearsal
1961:Stanislavski (1957, 138).
1894:Carnicke (1998, 163–164).
1416:Twentieth-century theatre
1401:List of acting techniques
1008:An Actor's Work on a Role
641:Method of Physical Action
599:Stanislavski's production
424:the role of Charlotta in
162:stagings of the plays of
145:unity of all its elements
3208:The Lee Strasberg Notes.
3186:Stanislavski, Constantin
3168:Stanislavski, Konstantin
3150:Stanislavski, Konstantin
3132:Stanislavski, Konstantin
3114:Stanislavski, Konstantin
3096:Stanislavski, Konstantin
3078:Stanislavski, Konstantin
2890:Gauss, Rebecca B. 1999.
2769:Benedetti, Jean. 1999a.
2535:Krasner (2000, 129—150).
2443:Carnicke (2010, 99—116).
2135:Stanislavski (1950, 91).
1378:, includes in his novel
1329:
1041:A Streetcar Named Desire
814:The First Studio of the
786:First Studio in 1915, a
577:?" or "What do I want?"
3348:Konstantin Stanislavski
3303:The Stanislavski Centre
3272:The Moscow Art Theatre.
3060:Meyerhold the Director.
3043:Roach, Joseph R. 1985.
2875:Counsell, Colin. 1996.
2802:Blum, Richard A. 1984.
2787:Benedetti, Jean. 2005.
2754:Benedetti, Jean. 1998.
2739:Benedetti, Jean. 1989.
2573:and were unaffected by
2395:Benedetti (1999a, 368).
2350:Magarshack (1950, 391).
2341:Benedetti (1999a, 363).
2198:Chamberlain (2000, 80).
2022:Benedetti (1999a, 360).
1943:Benedetti (1999a, 190).
1752:Stanslavski (1938, 27).
1743:Stanislavski (1938, 19)
1580:, not inner action and
1470:Benedetti (1999a, 170).
1255:dialectical materialism
954:On the Art of the Stage
802:Konstantin Stanislavski
562:Konstantin Stanislavski
500:Mihaly Csikszentmihalyi
479:Konstantin Stanislavski
385:considered the Italian
76:Konstantin Stanislavski
3394:Through-line of action
3190:Stanislavski on Opera.
2908:Gordon, Robert. 2006.
2280:Benedetti (1999, 259).
2268:Benedetti (1999, 256).
2250:Benedetti (1999, 255).
1270:
1061:
902:
807:
791:
773:
732:. With the arrival of
722:
660:
604:A Month in the Country
596:
567:
552:
548:A Month in the Country
484:
449:
397:
346:
324:
274:A Month in the Country
240:
137:
57:
27:System to train actors
3374:Art of representation
3356:Stanislavski's system
3270:Worrall, Nick. 1996.
3221:Thomas, James. 2016.
3064:Rezhisser Meierkhol'd
2979:Stanislavsky: A Life.
2948:. London: Routledge.
2944:Leach, Robert. 2004.
2844:Stanislavsky in Focus
2709:Bablet, Denis. 1962.
2675:conception towards a
2526:Krasner (2000b, 129).
1912:Carnicke (1998, 108).
1903:Carnicke (1998, 164).
1885:Carnicke (1998, 163).
1781:art of representation
1455:art of representation
1320:theatre practitioners
1266:
1044:, directed by former
1034:
970:Opera—Dramatic Studio
964:Stanislavski on Opera
888:
781:
766:The Imaginary Invalid
717:
648:
586:
533:
436:
381:
373:art of representation
328:Experiencing the role
283:
239:, and self-discovery.
207:
183:psychological realism
132:
80:art of representation
67:approach to training
61:Stanislavski's system
35:
3462:Building a Character
3409:Objective and Action
3307:Rose Bruford College
3251:Whyman, Rose. 2008.
3025:Moore, Sonia. 1968.
2828:Bulgakov, Mikhail.
2461:Banham (1998, 112).
1876:Counsell (1996, 28).
1698:Worrall (1996, 185).
1556:Benedetti (1989, 5).
1547:Counsell (1996, 25).
872:since 1905 and whom
866:Leopold Sulerzhitsky
726:Leopold Sulerzhitsky
199:major crisis in 1906
118:Having worked as an
73:theatre practitioner
3379:Given circumstances
3298:University of Leeds
2992:Mekler, Eva. 1989.
2817:. London: Methuen.
2758:. London: Methuen.
2653:Drama Centre London
2544:Carnicke (1998, 5).
2425:Carnicke (1998, 3).
2209:People's Commissars
1411:Russian avant-garde
1313:Drama Centre London
1084:. Others—including
1082:Tamara Daykarhanova
1070:Richard Boleslavsky
1058:cinema of the 1950s
1006:and two of that in
912:Moscow Conservatory
889:The Russian singer
852:Richard Boleslavsky
713:given circumstances
571:given circumstances
489:given circumstances
231:, which emphasised
104:given circumstances
18:Stanislavski method
3530:Moscow Art Theatre
3488:Moscow Art Theatre
2619:Gordon (2006, 71).
2110:The New York Times
1568:the production of
1349:. You can help by
1287:before the 1960s.
1062:
1038:'s performance in
950:Konkordia Antarova
903:
870:personal assistant
860:history of theatre
844:Yevgeny Vakhtangov
816:Moscow Art Theatre
792:
666:Vsevolod Meyerhold
661:
634:Respect for Acting
553:
471:life circumstances
431:The Cherry Orchard
398:
325:
241:
128:Moscow Art Theatre
58:
3525:Acting techniques
3512:
3511:
3455:An Actor Prepares
3264:978-0-521-88696-3
3231:978-1-4742-5659-9
3225:London: Methuen.
3216:978-0-415-55186-1
2975:Magarshack, David
2838:978-1-61219-214-7
2791:London: Methuen.
2719:978-0-413-47880-1
2633:Leach (2004, 46).
2189:Leach (1994, 18).
1459:Mikhail Shchepkin
1457:" corresponds to
1406:Russian symbolism
1367:
1366:
1212:Meisner technique
1074:Maria Ouspenskaya
931:Mikhail Shchepkin
856:Maria Ouspenskaya
759:work on Argan in
734:Socialist realism
715:." He continues:
291:, which gave the
253:Meiningen company
71:that the Russian
16:(Redirected from
3537:
3369:Affective memory
3341:
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3136:Creating a Role.
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1297:Theatre Workshop
1193:Daniel Day-Lewis
1019:Romeo and Juliet
976:Leontievski Lane
935:Feodor Chaliapin
891:Feodor Chaliapin
805:
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565:
526:Tasks and action
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305:seated far right
251:approach of the
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3416:Psychotechnique
3384:Inner monologue
3350:
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3290:
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2862:Actor Training.
2705:
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2696:Bulgakov (2013)
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1363:
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1347:needs expansion
1332:
1324:Jerzy Grotowski
1289:Joan Littlewood
1285:British theatre
1274:An Actor's Work
1137:Sanford Meisner
1133:Cheryl Crawford
1123:(1931—1940) in
1096:(1923—1933) in
1078:Michael Chekhov
1029:
972:
943:An Actor's Work
916:Serge Wolkonsky
908:Bolshoi Theatre
883:
848:Michael Chekhov
836:dramatic school
812:
806:
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674:First World War
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454:psychotechnique
354:Tommaso Salvini
345:
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330:
311:as Konstantin (
233:experimentation
116:
98:situations are
56:) in the drama.
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1243:psychophysical
1228:Sydney Pollack
1197:Marilyn Monroe
1185:Dustin Hoffman
1177:Robert De Niro
1156:Harold Clurman
1129:Harold Clurman
1028:
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988:Mikhail Kedrov
971:
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784:Stanislavski's
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753:psychophysical
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516:identification
510:techniques of
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343:'s biographer.
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1321:
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1302:
1301:improvisation
1298:
1294:
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1279:
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1263:
1260:
1256:
1252:
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1229:
1225:
1221:
1217:
1216:Robert Duvall
1213:
1209:
1205:
1200:
1198:
1194:
1190:
1189:Ellen Burstyn
1186:
1182:
1181:Harvey Keitel
1178:
1174:
1170:
1166:
1162:
1161:Marlon Brando
1157:
1153:
1148:
1146:
1145:Actors Studio
1142:
1141:Method acting
1138:
1134:
1130:
1126:
1122:
1121:Group Theatre
1118:
1117:Lee Strasberg
1113:
1111:
1107:
1103:
1099:
1095:
1091:
1087:
1083:
1079:
1075:
1071:
1067:
1066:United States
1059:
1055:
1054:method acting
1051:
1047:
1046:Group Theatre
1043:
1042:
1037:
1036:Marlon Brando
1033:
1026:
1024:
1021:
1020:
1015:
1014:
1009:
1005:
999:
997:
993:
990:, who played
989:
984:
979:
977:
969:
967:
965:
961:
960:
959:Eugene Onegin
955:
951:
946:
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936:
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927:
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691:Three Sisters
687:
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678:improvisation
675:
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468:
459:
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448:
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445:café-chantant
442:
435:
433:
432:
427:
426:Anton Chekhov
421:
419:
415:
411:
407:
403:
395:
392:(pictured as
391:
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369:
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327:
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303:as Trigorin (
302:
298:
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290:
288:
282:
278:
276:
275:
270:
269:Ivan Turgenev
266:
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237:improvisation
234:
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164:Anton Chekhov
161:
156:
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154:mise en scène
150:
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136:
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111:
107:
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95:
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62:
55:
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48:) and outer (
47:
43:
39:
36:A diagram of
34:
30:
19:
3502:
3494:
3467:
3460:
3453:
3446:
3431:Mental image
3422:
3355:
3271:
3258:
3252:
3237:
3222:
3207:
3189:
3171:
3153:
3135:
3117:
3099:
3081:
3063:
3059:
3044:
3026:
3008:
2993:
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2960:
2945:
2924:
2909:
2891:
2876:
2861:
2843:
2829:
2814:
2803:
2788:
2770:
2755:
2740:
2725:
2710:
2692:
2657:Rudolf Laban
2647:
2638:
2615:
2606:
2597:
2587:
2582:
2558:
2549:
2540:
2531:
2522:
2513:
2504:
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2484:
2457:
2448:
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2409:
2400:
2378:
2373:
2364:
2355:
2346:
2325:
2316:
2307:
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2246:
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2203:
2194:
2185:
2176:
2167:
2158:
2149:
2140:
2131:
2122:
2108:
2095:
2086:
2077:
2069:
2063:
2054:
2045:
2036:
2027:
2018:
2010:
2004:
1995:
1986:
1978:
1972:
1966:
1957:
1948:
1926:
1917:
1908:
1899:
1890:
1881:
1858:
1849:
1836:
1827:
1818:
1799:subconscious
1789:
1766:
1757:
1748:
1721:
1712:
1703:
1694:
1685:
1676:
1667:
1658:
1649:
1640:
1626:
1616:
1599:
1589:
1575:
1569:
1561:
1552:
1543:
1534:
1484:
1475:
1466:
1449:
1440:
1387:
1383:
1379:
1375:roman à clef
1373:
1368:
1355:
1351:adding to it
1346:
1317:
1309:drama school
1293:Ewan MacColl
1282:
1273:
1271:
1267:
1251:behaviourism
1247:teleological
1240:
1236:
1232:
1224:Diane Keaton
1201:
1169:Julie Harris
1149:
1114:
1110:Maria Knebel
1106:Soviet Union
1101:
1090:Joshua Logan
1086:Stella Adler
1068:, including
1063:
1039:
1017:
1011:
1007:
1003:
1000:
980:
973:
963:
957:
953:
947:
942:
928:
904:
895:universality
881:Opera Studio
864:
820:Stanislavski
813:
810:First Studio
794:
764:
746:
723:
718:
706:
701:
700:in 1934 and
695:
689:
685:
682:
662:
654:
651:Stanislavski
649:Sketches by
632:
622:
618:
602:
597:
590:
587:
583:
579:
574:
568:
555:
546:
542:
535:Stanislavski
520:pathological
497:
493:
485:
470:
466:
464:
450:
437:
429:
422:
406:subconscious
399:
383:Stanislavski
370:
358:
347:
341:Stanislavski
332:
320:
312:
304:
301:Stanislavski
286:
272:
265:Olga Knipper
242:
220:
212:
195:
172:
160:Naturalistic
152:
138:
133:
117:
108:
96:
92:subconscious
86:thought and
60:
59:
53:
49:
45:
38:Stanislavski
29:
3503:The Seagull
3480:Productions
1795:unconscious
1570:The Seagull
1318:Many other
874:Maxim Gorky
840:experiments
828:pedagogical
788:pedagogical
782:Members of
672:before the
287:The Seagull
168:Maxim Gorky
3519:Categories
2665:characters
2115:the Method
1605:Nemirovich
1384:Black Snow
1278:systematic
1220:Tom Cruise
1165:James Dean
1050:Elia Kazan
709:improvised
613:Turgenev's
508:meditation
418:simulacrum
271:'s comedy
245:systematic
217:Vakhtangov
151:, and the
100:improvised
65:systematic
2673:modernist
2661:Carl Jung
2568:Pavlovian
1931:control."
1807:conscious
1588:called a
1426:Ion Cojar
1358:July 2023
1173:Al Pacino
918:to teach
704:in 1935.
629:Uta Hagen
625:improvise
410:conscious
387:tragedian
365:Cocquelin
350:character
309:Meyerhold
179:Symbolism
84:conscious
3206:. 2010.
3170:. 1968.
3152:. 1963.
3134:. 1961.
3116:. 1957.
3098:. 1950.
3080:. 1938.
2977:. 1950.
2825:. 59–76.
2677:romantic
2491:Leonidov
2211:and the
2105:obituary
1803:Freudian
1394:See also
1259:Freudian
1125:New York
1098:New York
1027:Heritage
992:Tartuffe
966:(1975).
945:(1938).
824:research
799:—
559:—
476:—
337:—
315:), with
313:on floor
249:ensemble
229:pedagogy
225:research
187:pedagogy
149:blocking
141:director
3389:Subtext
3305:at the
3296:at the
2811:Chekhov
2703:Sources
2496:Othello
1797:" (or "
1784:26–27).
1633:subtext
1582:subtext
1572:in 1898
1208:branded
1048:member
996:Molière
920:diction
832:theatre
796:studio.
761:Molière
736:in the
702:Molière
656:Othello
539:Knipper
502:calls "
394:Othello
390:Salvini
361:Othello
317:Knipper
289:in 1898
261:Antoine
215:) with
175:subtext
120:amateur
3495:Hamlet
3364:Action
3278:
3262:
3244:
3229:
3214:
3196:
3178:
3160:
3142:
3124:
3106:
3088:
3070:
3051:
3033:
3015:
3000:
2985:
2967:
2952:
2931:
2916:
2898:
2883:
2868:
2850:
2836:
2821:
2795:
2777:
2762:
2747:
2732:
2717:
2589:passim
2571:reflex
1013:Hamlet
854:, and
834:nor a
749:Method
740:, the
697:Carmen
543:centre
441:circus
414:causes
321:behind
307:) and
297:emblem
69:actors
3440:Books
3423:As if
1433:Notes
1210:the "
1152:Paris
1127:with
939:opera
924:dance
899:opera
594:beat.
545:) in
443:of a
209:Gorky
63:is a
50:right
42:inner
3421:The
3276:ISBN
3260:ISBN
3242:ISBN
3227:ISBN
3212:ISBN
3194:ISBN
3176:ISBN
3158:ISBN
3140:ISBN
3122:ISBN
3104:ISBN
3086:ISBN
3068:ISBN
3049:ISBN
3031:ISBN
3013:ISBN
2998:ISBN
2983:ISBN
2965:ISBN
2950:ISBN
2929:ISBN
2914:ISBN
2896:ISBN
2881:ISBN
2866:ISBN
2848:ISBN
2834:ISBN
2819:ISBN
2793:ISBN
2775:ISBN
2760:ISBN
2745:ISBN
2730:ISBN
2715:ISBN
2683:and
1842:O.S.
1811:will
1621:29).
1291:and
1226:and
1195:and
1131:and
1088:and
1016:and
983:Nice
933:and
738:USSR
730:West
694:and
537:and
512:yoga
504:flow
402:will
295:its
257:Maly
227:and
166:and
126:the
88:will
46:left
2813:".
2107:in
2103:'s
1609:MAT
1353:.
763:'s
742:MAT
670:MAT
631:'s
609:MAT
601:of
456:".
428:'s
293:MAT
106:."
54:top
3521::
3266:.
2624:^
2470:^
2418:^
2386:^
2334:^
2273:^
2255:^
1936:^
1867:^
1730:^
1522:^
1510:^
1498:^
1230:.
1222:,
1218:,
1199:.
1191:,
1187:,
1183:,
1179:,
1175:,
1171:,
1167:,
1076:,
1072:,
926:.
862:.
850:,
846:,
575:do
522:.
467:if
434::
323:).
235:,
201:.
193:.
3340:e
3333:t
3326:v
3282:.
3248:.
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3218:.
3200:.
3182:.
3164:.
3146:.
3128:.
3110:.
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3074:.
3055:.
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3004:.
2989:.
2971:.
2956:.
2935:.
2920:.
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2887:.
2872:.
2854:.
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2781:.
2766:.
2751:.
2736:.
2721:.
2687:.
2577:.
1611:.
1492:.
1360:)
1356:(
1060:.
901:.
804:.
564:.
541:(
481:.
319:(
219:(
211:(
44:(
20:)
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