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Psychotechnique
Psychotechnique (A portmanteau of ''psychological technique'') forms part of the 'system' of actor training, preparation, and rehearsal developed by the Russian theatre practitioner Konstantin Stanislavski. It describes the inner, psychological elements of training that support what he called "experiencing" a role in performance. In a rehearsal process, psychotechnique is interrelated with the "embodiment" of the role, in order to achieve a fully realised characterisation. Stanislavski describes the elements of psychotechnique in the first part of his manual ''An Actor's Work''. List *RelaxationFrom Stanislavsky's book 'An Actor Prepares, and A Dream of Passion: The Development of the Method of author, actor and acting teacher Lee Strasberg (Page 59 of the original version of the book). *Concentration on an object * The "As ''if''" (Also called "What ''if"'' or "Magic 'if''") * Affective memory (Also called "Emotional memory", or divided by Maria Ouspenskaya teaching in ''Analyti ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Stanislavski's System
Stanislavski's system is a systematic approach to training actors that the Russian theatre practitioner Konstantin Stanislavski developed in the first half of the twentieth century. His system cultivates what he calls the "art of experiencing" (with which he contrasts the "art of representation").Benedetti (1999a, 201), Carnicke (2000, 17), and Stanislavski (1938, 16—36 "art of representation" corresponds to Mikhail Shchepkin's "actor of reason" and his "art of experiencing" corresponds to Shchepkin's "actor of feeling"; see Benedetti (1999a, 202). It mobilises the actor's conscious thought and will in order to activate other, less-controllable psychological processes—such as emotional experience and subconscious 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"). Later, Stanislavski further elaborated what he called 'the Sy ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Konstantin Stanislavski
Konstantin Sergeyevich Stanislavski ( rus, Константин Сергеевич Станиславский, p=kənstɐnʲˈtʲin sʲɪrˈɡʲejɪvʲɪtɕ stənʲɪˈslafskʲɪj, links=yes; ; 7 August 1938) was a seminal Russian and Soviet theatre practitioner. He was widely recognized as an outstanding character actor, and the many productions that he directed garnered him a reputation as one of the leading theatre directors of his generation. His principal fame and influence, however, rests on his "system" of actor training, preparation, and rehearsal technique. Stanislavski (his stage name) performed and directed as an amateur until the age of 33, when he co-founded the world-famous Moscow Art Theatre (MAT) company with Vladimir Nemirovich-Danchenko, following a legendary 18-hour discussion. Its influential tours of Europe (1906) and the US (1923–24), and its landmark productions of ''The Seagull'' (1898) and ''Hamlet'' (1911–12), established his reputation an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Stanislavski%27s System
Stanislavski's system is a systematic approach to training actors that the Russian theatre practitioner Konstantin Stanislavski developed in the first half of the twentieth century. His system cultivates what he calls the "art of experiencing" (with which he contrasts the "art of representation").Benedetti (1999a, 201), Carnicke (2000, 17), and Stanislavski (1938, 16—36 "art of representation" corresponds to Mikhail Shchepkin's "actor of reason" and his "art of experiencing" corresponds to Shchepkin's "actor of feeling"; see Benedetti (1999a, 202). It mobilises the actor's conscious thought and will in order to activate other, less-controllable psychological processes—such as emotional experience and subconscious 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"). Later, Stanislavski further elaborated what he called 'the Sy ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Theatre Practitioner
A theatre practitioner is someone who creates theatrical performances and/or produces a theoretical discourse that informs their practical work. A theatre practitioner may be a director, dramatist, actor, designer or a combination of these traditionally separate roles. ''Theatre practice'' describes the collective work that various theatre practitioners do. The term was not ordinarily applied to theatre-makers prior to the rise of modernism in the theatre. Instead, theatre praxis from Konstantin Stanislavski's development of his system is described through Vsevolod Meyerhold's biomechanics, Antonin Artaud's Theatre of cruelty, Bertolt Brecht's epic, and Jerzy Grotowski's poor theatre. Contemporary theatre practitioners include Augusto Boal with his Theatre of the Oppressed The Theatre of the Oppressed (TO) describes theatrical forms that the Brazilian theatre practitioner Augusto Boal first elaborated in the 1970s, initially in Brazil and later in Europe. Boal was influe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Lee Strasberg
Lee Strasberg (born Israel Strassberg; November 17, 1901 – February 17, 1982) was an American acting coach and actor. He co-founded, with theatre directors Harold Clurman and Cheryl Crawford, the Group Theatre in 1931, which was hailed as "America's first true theatrical collective". In 1951, he became director of the nonprofit Actors Studio in New York City, considered "the nation's most prestigious acting school," and, in 1966, he was involved in the creation of Actors Studio West in Los Angeles. Although other highly regarded teachers also developed versions of "The Method," Lee Strasberg is considered to be the "father of method acting in America," according to author Mel Gussow. From the 1920s until his death in 1982, "he revolutionized the art of acting by having a profound influence on performance in American theater and film." From his base in New York, Strasberg trained several generations of theatre and film notables, including Anne Bancroft, Dustin Hoffman, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Affective Memory
Affective memory was an early element of Stanislavski's 'system'. It was adopted by Lee Strasberg and made a central part of his own acting technique 'The Method' more broadly referred to as method acting. Affective memory requires actors to call on the memory of details from a similar situation (or more recently a situation with similar emotions) and substitute those feelings for those of their characters. Stanislavski believed actors needed to take emotion and personality to the stage and call upon it when playing their character. He also explored the use of objectives, actioning, and empathizing with the character. "Emotional recall" is the basis for method acting. "Sense memory" is used to refer to the recall of physical sensations surrounding emotional events (instead of the emotions themselves) through a structured process based on a series of exercises. The use of affective memory remains a controversial topic in acting theory. Otherwise known as emotional memory, it is oft ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Maria Ouspenskaya
Maria Alekseyevna Ouspenskaya (; 29 July 1876 – 3 December 1949) was a Russian actress and acting teacher.Nissen, Axel. 2006. ''Actresses of a Certain Character: Forty Familiar Hollywood Faces from the Thirties to the Fifties.'' Illustrated ed. Jefferson, NC: McFarland & Co.; , p. 141. She achieved success as a stage actress as a young woman in Russia, and as an older woman in Hollywood films.Obituary for Maria Ouspenskaya, '' Variety'', 7 December 1949; page 63. She was twice nominated for the Academy Award for Best Supporting Actress for '' Dodsworth'' (1936) and '' Love Affair'' (1939). Life and career Ouspenskaya was born in Tula, Tsarist Russia. She studied singing in Warsaw and acting in Moscow. She was a founding member of the First Studio, a theatre studio of the Moscow Art Theatre. There she was trained by Konstantin Stanislavsky and his assistant Leopold Sulerzhitsky. The Moscow Art Theatre traveled widely throughout Europe, and when it arrived in New York City in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
