Relevant bibliographies by topics / Stanislavski

Academic literature on the topic 'Stanislavski'

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Stanislavski"

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Schmitt, Natalie Crohn. "Stanislavski, Creativity, and the Unconscious." New Theatre Quarterly 2, no. 8 (November 1986): 345–51. http://dx.doi.org/10.1017/s0266464x00002359.

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As Alice Reyner's paper on Stanislavski and Bradley in NTQ 4 illustrated, Stanislavski remained very much a man of his own time, however enduring his approach to acting has proved. Here, Natalie Crohn Schmitt examines one of the concepts most crucial to ‘the system’ – a concept which is in its essentials, however, derived from nineteenth-century ideas, now being challenged, about the relationship between creativity and the unconscious. Pointing out that Stanislavski himself believed that his ‘system’ was simply the application of natural laws to acting technique, the author shows Stanislavski's indebtedness to the psychological theories of Théodule Armand Ribot, which interpreted all human behaviour in terms of ‘an aim towards fixed ends’. One of the reasons for the decline in influence of Stanislavski's system thus reflects, she argues, the growing belief that creativity is ‘process’, its ends ‘continually redefined by the actions, and vice-versa’ – and the author suggests examples of such a non-Stanislavskian approach among contemporary theatre companies. Natalie Crohn Schmitt is associate professor of theatre in the University of Illinois at Chicago. Her earlier essays have appeared in a wide range of journals, and she has just completed a full-length study, Actors on the Stage of Life. The present paper was written under a grant from the National Endowment for the Humanities.
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Mumford, Meg. "Brecht Studies Stanislavski: Just a Tactical Move?" New Theatre Quarterly 11, no. 43 (August 1995): 241–58. http://dx.doi.org/10.1017/s0266464x0000912x.

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In the 'fifties Brecht undertook an examination of Stanislavski's theatre which in terms of breadth and intensity was unprecedented in his career – and rehearsal documentation from that period testifies that he incorporated some of Stanislavski's methods into the stage practice of the Berliner Ensemble. The seriousness of his study is attested by the organized collection of notes on the production of Katzgraben recently discovered in Elizabeth Hauptmann's estate. Brecht's preoccupation with Stanislavski at this time has been seen as an attempt to protect his theatre's existence in an environment where Stanislavski, socialist realism, and the communist cause were regarded as interlinked. In this paper, Meg Mumford, recently appointed to a lectureship in theatre in the University of Glasgow, outlines the nature of Brecht's study of Stanislavski, and draws upon the records of the ensuing theatre practice, the Katzgraben notes in particular, to illuminate Brecht's growing recognition of affinities with Stanislavski's methods, which he found useful in fostering the young Berliner Ensemble and in creating performances he viewed as appropriate to audiences in the GDR.
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Marchenko, Herman. "Vsevolod Meyerhold’s Biomechanics and Boris Zakhava's Educational Work." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (December 10, 2020): 58–74. http://dx.doi.org/10.36340/2071-6818-2020-16-4-58-74.

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The article deals with two different approaches to training actors. One of them is Stanislavski’s system, and the other is Meyerhold’s biomechanics. Konstantin Stanislavski and Vladimir Nemirovich-Danchenko are reformers of the Russian theater. As the Art Theater founders, they understood that the emergence of a new drama would require a completely different approach to working with actors and a different design of the stage space. With regard to new performances, it became possible to pose critical social questions related to everyday life before the viewer. Therefore, it was logical that the director's profession became very important. Working on his system, Stanislavski paid great attention to the need for an actor’s comprehensive development. Many wonderful actors who attended his acting school were among the students of this great theater director. Vsevolod Meyerhold was one of them. However, the latter chose his direction and began to engage in staging performances actively and search for new means of expression, having come to an absolute convention on the stage. Meyerhold created his method of working with an actor, known as biomechanics, in the theatrical environment. The principle of this approach is the opposite of Stanislavski's system. With all the difference in views on the theater, in the early stages of Meyerhold's independent practice, Konstantin Stanislavski offered him the opportunity to cooperate, which led Vsevolod Meyerhold to the Studio on Povarskaya Street in Moscow. Evgeny Vakhtangov was another student of Stanislavski and Nemirovich-Danchenko. At the request of Stanislavski, Vakhtangov was engaged in educational work in the studio of Moscow Art Theatre. Unlike Meyerhold, he thoroughly mastered the system and then created his theatrical direction called fantastic realism. Vakhtangov's legacy was preserved thanks to the activities of his students, among whom was Boris Zakhava. He turned to Meyerhold for help and spent several seasons with the master, gaining invaluable experience, including revealing the features of biomechanics in practice. Boris Zakhava remained faithful to Vakhtangov’s principles and continued his teacher’s work at the Shchukin Theater Institute.
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Santos, Alessandra Dutra dos. "Questão prática, resposta crítica: o metateatro de Sabina Berman." Aletria: Revista de Estudos de Literatura 7 (December 31, 2000): 137–46. http://dx.doi.org/10.17851/2317-2096.7..137-146.

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Resumo: Este artigo visa discutir os conflitos existentes entre teoria e prática teatral, utilizando como instrumentos dois monólogos da dramaturga mexicana Sabina Berman e o manual de preparação do ator de Stanislavski, buscando res­ gatar o diálogo existente entre os dois textos.Palavras-chave: teoria teatral; Sabina Berman; Stanislavski.Abstract: This article objectives to analyse the conflicts between theory and pratical theatre using two monologues of Mexican drama by Sabina Berman and the guide to ac tor preparation by Stanislavsky, trying to keep the existing dialogue in both.Keywords: theatrical theory; Sabina Bcrman; Stanislavski.
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Whyman, Rose. "The Actor's Second Nature: Stanislavski and William James." New Theatre Quarterly 23, no. 2 (May 2007): 115–23. http://dx.doi.org/10.1017/s0266464x07000024.

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This article considers the origins of Stanislavski's system and his insistence that the actor's skills, like the musician's, must be honed through daily exercises. Such practice must become the actor's ‘second nature’, as Stanislavski terms it. Rose Whyman here compares what Stanislavski has to say about skill acquisition with the psychologist William James's discussion of the role of habit in learning. This raises some problems in theorizing the system today, as it was rooted in the science of more than a century ago, when much less was known about the mechanisms of memory and learning. Rose Whyman worked previously in community and experimental theatre and is now a lecturer in Drama and Theatre Arts at the University of Birmingham. Her book The Stanislavski System of Acting: Legacy and Influence in Modern Performance is to be published by CUP later this year.
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Benedetti, Jean. "A History of Stanislavski in Translation." New Theatre Quarterly 6, no. 23 (August 1990): 266–78. http://dx.doi.org/10.1017/s0266464x00004577.

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Stanislavski has become a minor industry, both in theatre training and in publishing, with courses and related books endorsing, elaborating, or questioning his ‘System’. But how much of the System is really accessible to an English-speaking readership, and how full a view of Stanislavski's fully-formed ideas does it represent? Even the order and timing of the appearance of his works in English has, argues Jean Benedetti, determined our reception of his thought, and left us ignorant, sometimes wilfully, of the real development of his thinking: and in the following article, he traces the complicated and often fraught history of the translation of Stanislavski's works into English, revealing how (sometimes from the best of intentions) a slanted and incomplete view of the System still dominates our perceptions. Following a career in the theatre, film, and television. Jean Benedetti was Principal of the Rose Bruford College of Speech and Drama from 1970 to 1987, and since 1979 has been chairman of the Theatre Education Committee of the International Theatre Institute. In 1982 he published Stanislavski: an Introduction, and his biography of Stanislavski, the first in the West in forty years, was published in the autumn of 1988, and in paperback earlier this year. He is currently working on a documentary history of the Moscow Art Theatre.
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Leșe, Ana Cristina. "K. S. Stanislavski and the physical action." Timisoara Physical Education and Rehabilitation Journal 10, no. 19 (December 1, 2017): 67–72. http://dx.doi.org/10.1515/tperj-2017-0019.

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Abstract We note that the physical action in the K. Stanislavski's system expresses the same meaning as the motor action in the field of Physic Education, consisting in accomplishing a task with the help of the skeletal muscles, mainly, of the physical exercise. We sense here, the link between the Stanislavski's system and the Physical Education, link that is achieved, mainly through physical exercise. And this is how, to the question “What is the first thing in the actor's work of preparing for a role?”, K. Stanislavski is in his right to assert, after a long experience of artist-researcher, that “the most appropriate and efficient procedure for preparing a role is the approach to the role with the help of physical exercise”.
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Dacre, Kathy. "Teaching Stanislavski." Stanislavski Studies 2, no. 1 (November 2013): 287–95. http://dx.doi.org/10.1080/20567790.2013.11428602.

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Sennett, Herbert. "Stanislavski and the Actor, and: Stanislavski in Rehearsal (review)." Theatre Journal 52, no. 1 (2000): 151–52. http://dx.doi.org/10.1353/tj.2000.0031.

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Hobgood, Burnet M. "Stanislavski's Books: an Untold Story." Theatre Survey 27, no. 1-2 (November 1986): 155–65. http://dx.doi.org/10.1017/s0040557400008826.

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A number of questions about Stanislavski's writings on acting and the theatre still hang in the air nearly fifty years after his death. It seems curious that this should be the case when the ideas and books by the great Russian director-actor-teacher are so well known and have exerted such a profound influence on the modern theatre. The persistence of these questions through the years has even raised doubts concerning the authenticity of the writings attributed to Stanislavski and the accuracy of translations from his original Russian texts. As a result, serious students of Stanislavski's “System” feel unable to discriminate among the current interpreters of the man born Konstantin Sergeyevich Alexeyeff.
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Dissertations / Theses on the topic "Stanislavski"

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Ellerby, Charlotte Jane. "Constantin Stanislavski : acting in opera." Thesis, University of East Anglia, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502106.

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Constantin Stanislavski initially trained as an opera singer before becoming an actor and director. In 1918 he was invited to give a series of lectures and workshops on the art of acting in opera at the Moscow Bolshoy Theatre, and then he directed a whole series of operas between 1922 and 1932. The opera lectures are found in a book entitled On the Art of the Stage, and one of the singers in Stanislavski's Opera Studio named Pavel Rumyantsev records Stanislavski's work on individual operas in a book entitled Stanislavski on Opera. This thesis argues that these lectures are a major contribution to our understanding of Stanislavski's training of the actor: they were given before the maj or acting texts were written or published, and they constitute a complete system called 'The System and Methods of Creative Art', formed in seven steps of a metaphorical ladder. The lectures have received little or no critical attention and this thesis is therefore unique in the light that it sheds upon the relationship between Stanislavski's systems of acting for opera and for theatre, and the historical and cultural contexts in which the lectures were given. This thesis also challenges the conventional view of Stanislavski as a naturalistic director and posits a binary model which acknowledges his work in fantasy and illusion, both in theatre and opera. Tzvetan Todorov provides a critical language with which to analyse Stanislavski' s approach to operas in the fantastic vein such as Rimsky-Korsakov's A May Night. By contrast, Stanislavski's direction of Tchaikovsky's Eugene Onegin in 1922 employed a variety of more realist styles. Finally, this thesis examines Stanislavski's contribution to the movement to create a 'synthetic theatre', at the heart of which is a collective ethos and a desire to unite the words, music and action in an organic whole.
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Gurejeva, Viktorija. "Konstantino Stanislavskio sistemos elementų taikymas atlikėjų rengime." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140603_115526-32153.

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Konstantino Stanislavskio sistema remiasi daugelis režisierių, pedagogų, aktorių, dainininkų. Ši sistema labai stipriai paveikė teatro ir pedagogikos vystymąsi. Sistema sudaryta iš dviejų dalių: „Aktoriaus darbu su savimi“ ir „Aktoriaus darbu su vaidmeniu“. Įvaldžius abi sistemos dalis organiškai susijungia atlikėjas su vaidmeniu. Sistema apima didelį skaičių elementų, kurie nagrinėjami mokslo darbe. Stanislavskio sistemos elementai - dainininko - aktoriaus darbo įrankiai. Darbe siekta išskirti pagrindinius Stanislavskio sistemos elementus, atskleisti šių elementų taikymo galimybes atlikime ir atlikėjų rengime. Tyrimo objektas: Konstantino Stanislavskio sistemos elementų taikymas atlikėjų rengime. Tyrimo tikslas: atskleisti Konstantino Stanislavskio sistemos elementus, jų taikymą ir šiuolaikinį aktualumą. Tyrimo tikslui pasiekti, iškelti šie uždaviniai: • Pristatyti Konstantino Stanislavskio aktorių rengimo sistemą ir jos elementus; • Atskleisti Konstantino Stanislavskio sistemos elementų taikymo galimybes atlikėjų rengime. Tyrimo metodai: • Mokslinės literatūros analizė; • Interviu. Dainininko - aktoriaus kūrybiškumo elementai - jo vidiniai (psichiniai) ir išoriniai (fiziniai) duomenys. Valdant visus psichofizinių duomenų elementus įmanomas profesionalus sceninis veiksmas. Pagrindinis Stanislavsio sistemos principas - gyvenimiška tiesa. Visi Stanislavskio sistemos elementai, yra sceninio veiksmo sudėtines dalys. Kiekviena iš elementų reikia vystyti, tik tai padeda... [toliau žr. visą tekstą]
Many of produsers, pedagogues, actors and performers bases on Stanislavski's system. The development of theater and pedagogy was strongly affected by the system. It is grounded on two parts: „Actors work with himself“ and „Actors work with role“. After getting mastered in this parts, the actor is joined with role in natural way. The system includes a big amount of elements which are investigated in this study. The elements of Stanislavski's system are the tools for actors and performers. The goal of the study is to discover the main elements of Stanislavski's system and to reveal the usibilty of this elements in action and in preparation of the performers. Study object: application of Konstantin Stanislavski's system elements in preparation of performers. Study goal: to discover the main elements of Stanislavski's system, it's usibility and modern actuality. Study objectives: • Introduce the Konstantin Stanislavski's actor preparation system and elements; • To reveal the usibilty of the elements in action and in preparation of the performers. Study methods: • Analisis of a sience literature; • Interview. Study object: application of Konstantin Stanislavski's system elements in preparation of performers. Performer - actor elements of creativity - his internal psychical and external physical qualities. In management of psychophysical qualities. The professional scene action may be achieved by managing the elements of psychophysical qualities. The main principle of... [to full text]
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Jones, Victoria. "Brecht's reception of Stanislavski, 1922 to 1953." Thesis, King's College London (University of London), 2005. https://kclpure.kcl.ac.uk/portal/en/theses/brechts-reception-of-stanislavski-1922-to-1953(27007bd8-dd36-4dab-8e64-3677b87f4ae7).html.

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Kipste, Egils. "Directing experience : an exploration of active analysis and visual cognition theory in the training of contemporary directors." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/72958/2/Egils_Kipste_Thesis_Part_A.pdf.

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The focus of this research is the creation of a stage-directing training manual on the researcher's site at the National Institute of Dramatic Art. The directing procedures build on the work of Stanislavski's Active Analysis and findings from present-day visual cognition studies. Action research methodology and evidence-based data collection are employed to improve the efficacy of both the directing procedures and the pedagogical manual. The manual serves as a supplement to director training and a toolkit for the more experienced practitioner. The manual and research findings provide a unique and innovative contribution to the field of theatre directing.
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Kerr, William Ryan. "Crippled transcendence, Brian Friel's use of Stanislavski and Brecht." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ60312.pdf.

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Pitches, Jonathan. "The psycho-physical actor : science and the Stanislavski tradition." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368355.

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Poliakov, Stéphane. "Interactions esthétiques : les fondements figuratifs du système de Stanislavski." Lyon 2, 2006. http://theses.univ-lyon2.fr/documents/lyon2/2006/poliakov_s.

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L'esthétique théâtrale russe est fondée sur l'acteur comme modèle de la création artistique. Les metteurs en scène russes ont élaboré au XXe siècle une réflexion systématique sur la poétique de l'acteur, une terminologie, des pratiques pédagogiques. Les écrits de Stanislavski permettent d'en articuler les axes principaux : processus et résultat, art de la représentation et art de la vie éprouvée (pereživanie), finalisme du surobjectif, refus de la convention et des clichés, vitalisme des impulsions, continuité de l'action. Il est possible de ressaisir cette tradition à partir des catégories figuratives qui la parcourent : image, cliché, dessin, couleur, pellicule cinématographique du rôle, ligne de l'action transversale, point et cercle de l'attention. Ces métaphores rendent compte d'une histoire de la mise en scène dans ses impulsions figuratives. La pédagogie de la mise en scène pose le problème du rapport entre l'image et l'action. Son origine peut être recherchée dans les relations qui se nouent entre théâtre et peinture, à la fin du XIXe siècle en Russie, dans le contexte de l'émergence de l'Art nouveau. La culture figurative de Stanislavski, entre réalisme et vacillement symboliste de la figure, témoigne d'une intériorisation de pratiques figuratives, comme le dessin des cahiers de mise en scène, dans une théorie de l'acteur. L'image, le dessin, la composition, la ligne et la perspective deviennent des instruments opératoires pour la création de l'acteur et du metteur en scène. C'est le jeu de l'acteur que la théorie de Stanislavski permet de figurer et le système même qui devient figuratif pour spatialiser le processus artistique et ses impulsions psychologiques
The aesthetics of the Russian theatre is based on acting as a pattern for artistic creation. Russian directors established in the XXth century a system on the poetics of acting which is characterized by a terminology, a pedagogical practice. Stanislavski's writings and own evolution in the Moscow Art Theater draw the fundamentals: process and result, art of representation vs. Art of empathy (pereživanie), finality of the super-objective, refusal of convention and clichés, vitalism of impulses, continuity of action. It is possible to rethink this tradition on the basis of figurative categories such as image, design, colour, motion picture film of the role, through-line of action, point and circle of attention. Metaphors of this kind account for figurative impulses in stage directing. The thesis starts with the different meanings of the word "art" within the Russian tradition so as to describe the figurative practices and exercises in the pedagogy of directing. We then explore the relation between theater and painting at the end of the XIXth century in Russia with the birth of Modern style to aim at the figurative culture of Stanislavski himself between realism and vanishing of the human figure though symbolism. Stanislavski's evolution reveals an internalization of figurative categories and practices (such as the drawings in his director's notebooks) in a theory of acting. Thus, image drawing, composition, line, perspective are tools referring to the actor's and director's creativity. Stanislavski's theory allows to figurate the acting. The system itself becomes figurative and spatializes the artistic process and its psychological impulses
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Lee, Edward D. (Edward Dale). "Using the Stanislavski System to Teach Non-Realistic Acting." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278896/.

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This study examined Stanislavski's system as it was explained in his three books, An Actor Prepares, Building A Character, and Creating A Character. The study then examined the applicability of the Stanislavski System to the theaters of Bertolt Brecht and Absurdist theatre as represented by Harold Pinter and Samuel Beckett.
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Poliakov, Stéphane Hamon-Siréjols Christine. "Interactions esthétiques les fondements figuratifs du système de Stanislavski /." Lyon : Université Lumière Lyon 2, 2006. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2006/poliakov_s.

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Hamner, Matthew. "THE LARAMIE PROJECT: THE SEARCH FOR A PERSONAL ACTING METHOD VIA THE PRINCIPLES OF CONSTANTIN STANISLAVKSI." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3796.

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Constantin Stanislavski developed a method for actors in bringing to life characters for the stage. Even though Stanislavski developed his theories in response to the stage climate of the late nineteenth and early twentieth centuries, many of his ideas remain relevant today. In this study, parts of his system were applied to the roles performed in Moisés Kaufman's The Laramie Project. Those roles were Moisés Kaufman, Jonas Slonaker, Doug Laws, Anonymous, Detective Rob Debree, Governor Jim Geringer, Reverend Fred Phelps and Dennis Shepard. The purpose of this exploration was to create unique, believable characters and develop solutions for personal acting problems. Through this study, it was concluded that this method empowered me as I sought ways to personalize with the reality of the characters.
M.F.A.
Arts and Sciences
Theatre
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Books on the topic "Stanislavski"

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Benedetti, Jean. Stanislavski. London: Methuen, 1988.

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Stanislavski. New York, NY, USA: Routledge, 1988.

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Stanislavski in rehearsal. London: Methuen, 2001.

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Benedetti, Jean. Stanislavski: An introduction. 2nd ed. London: Methuen, 1989.

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Benedetti, Jean. Stanislavski: An introduction. 3rd ed. London: Methuen, 2000.

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Stanislavski: The basics. New York: Routledge, 2014.

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Stanislavski: An introduction. New York: Routledge, 2004.

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Stanislavski: A biography. New York, NY: Routledge, 1988.

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1863-1938, Stanislavsky Konstantin, ed. Stanislavski on opera. New York: Routledge, 1998.

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La méthode Stanislavski: Roman. Paris: Grasset, 2005.

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Book chapters on the topic "Stanislavski"

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Dunbar, Zachary, and Stephe Harrop. "The Stanislavski Legacy." In Greek Tragedy and the Contemporary Actor, 53–78. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95471-4_3.

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Merlin, Bella. "Stanislavski (1863–1938)." In The Routledge Companion to Studio Performance Practice, 7–42. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003182115-2.

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Ledger, Adam J. "The Director and Stanislavski." In The Director and Directing, 39–68. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-40767-2_2.

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Gillies, John. "Stanislavski, Othello, and the Motives of Eloquence." In A Companion to Shakespeare and Performance, 267–84. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996706.ch15.

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Whitfield, Petronilla. "A Trial of the Physical Actions Method Inspired by Stanislavski." In Teaching Strategies for Neurodiversity and Dyslexia in Actor Training, 124–49. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429458590-10.

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Rigler, Sibille. "Stanislavskij, Konstantin Sergeevič." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_19914-1.

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Merlin, Bella. "Stanislavsky (1863–1938)." In The Routledge Companion to Performance Practitioners, 1–42. Abingdon, Oxon; New York, NY: Routledge, 2020. | Series: Routledge theatre and performance companions: Routledge, 2020. http://dx.doi.org/10.4324/9780367815998-1.

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Autant-Mathieu, Marie-Christine. "Meyerhold and Stanislavsky." In The Routledge Companion to Vsevolod Meyerhold, 121–33. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003110804-12.

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Illingworth, Scott. "Would Stanislavsky Disapprove?" In Exercises for Embodied Actors, 171–79. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003002819-15.

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O'Brien, Nick, Annie Sutton, and Matthew Cooper. "Stanislavski." In Theatre in Practice, 11–45. Routledge, 2018. http://dx.doi.org/10.4324/9781315267425-2.

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Conference papers on the topic "Stanislavski"

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Hallissey, Helen. "'WHO AM I, MR. STANISLAVSKI?' AN EXPLORATION OF STANISLAVSKI'S 'SYSTEM' OF TRAINING ACTORS IN REALIZING CHARACTERIZATION IN THE 1999 IRISH DRAMA CURRICULUM (PRIMARY LEVEL)." In 11th International Conference on Education and New Learning Technologies. IATED, 2019. http://dx.doi.org/10.21125/edulearn.2019.0394.

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Zancope, Fernanda, and Eduardo Okamoto. "O Trabalho com as Ações Físicas Propostas pelo LUME Teatro Comparado a conceito de Ação no Sistema Stanislavski." In XXV Congresso de Iniciação Cientifica da Unicamp. Campinas - SP, Brazil: Galoa, 2017. http://dx.doi.org/10.19146/pibic-2017-78885.

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Bukatov, V. "DRAMOHERMENEUTICS: BASIC PROVISIONS, METHODOLOGICAL GUIDELINES AND EDUCATIONAL PRACTICE." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2557.978-5-317-06726-7/107-112.

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Abstract:
A living understanding (according to Losev) of the topic studied in the lesson for the student is associated with the personal experience (according to Stanislavsky) of its semantic context. The individuality of the tempo/rhythm of this process guarantees the emotionality of the student's mastering of the studied. To provide teachers with the ability to design such a “lesson direction” from the situational-business conjugations of theatrical, hermeneutic and pedagogical spheres of professional activity, drama hermeneutics arose in didactics. Switch super task of which is to provide teachers with a system of figurative prompts: which of the well-known methodological techniques it makes sense to involve in their next lessons, building out of them one of the modern versions of the “hermeneutic procedure”.
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Reports on the topic "Stanislavski"

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Ilgenfritz, Pedro. Guide Me Without Touching My Hand: Reflections on the Dramaturgical Development of the Devised-theatre Show One by One. Unitec ePress, December 2016. http://dx.doi.org/10.34074/ocds.038.

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This essay is a reflection on some aspects of dramaturgy observed during the creation and development of One by One, a silent tragicomedy designed by the Auckland company, LAB Theatre, in 2011 and restaged in 2013. The emphasis of the essay is on pedagogical aspects at the core of the company’s work, as they inform the creative process and lead to the blending of the actor’s function into that of the dramaturg. The following discussion makes apparent the fact that this process of hybridisation, made possible by implementing features of devised theatre, emancipates the actor and brings improvisation to a better use. The play was based on the notion that theatrical action must be ‘suggestive’ rather than ‘descriptive.’ This idea originated in the works of Konstantin Stanislavski (1988) and Jacques Copeau (2000) and was developed by more recent theorists of dramaturgy into a practical framework for theatrical performance in general. The success of One by One depended very much on the implementation of these principles. The achievement was duly noted by reviewer Lexie Matheson (2011), who appreciated that One by One “exists on its own, doesn’t need explanation, doesn’t explain itself; it just unravels with delicacy and tenderness, like a good yarn should.
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