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1
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]
3
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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4
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.
5
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 psychologiquesThe 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
8
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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Takeda, Cristiane Layher. "Minha vida na arte de Konstantin Stanislavski: os caminhos de uma poética teatral." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-30042009-095757/.
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Konstantin Stanislavski é considerado um dos pilares do teatro moderno. Ator, encenador, pedagogo, pesquisador e teórico teatral, ele transformou o teatro de sua época e sua obra lançou as bases para o treinamento e formação de atores, a primeira sistematização da arte do ator no ocidente, que ficou conhecida como o sistema Stanislavski. Minha vida na arte de Konstantin Stanislavski: os caminhos de uma poética teatral propõe investigar a autobiografia de Stanislavski, publicada na Rússia em 1926. Além do percurso de uma experiência artística incomum, esse primeiro livro stanislavskiano apresenta as etapas de formação e os elementos que articulam seu pensamento artístico. Apesar da riqueza das informações que o relato apresenta, Minha vida na arte é um texto pouco analisado, visto que a esmagadora maioria dos estudos teatrais dedica-se à exegese do sistema Stanislavski. A presente pesquisa retoma a autobiografia e cria um espaço de observação e análise, colocando-a no centro da reflexão e considerando-a como um texto fundamental que guarda em si uma chave de acesso para a compreensão do projeto artístico-pedagógico de Konstantin Stanislavski, bem como de sua teoria teatral exposta em livros posteriores. O trabalho discute, em um primeiro momento, a trajetória dos escritos stanislavskianos, em seguida apresenta as circunstâncias que envolveram a gênese, a publicação e a transmissão da autobiografia e, finalmente, propõe o exame do texto de Minha vida na arte. A pesquisa está inserida no campo dos estudos stanislavskianos que se dedicam à releitura da obra e do legado do mestre russo.Konstantin Stanislavskis work is considered a fundamental reference of the modern theatre. He was an actor, metteur en scène, pedagogue and theatre theoretician whose works launched the basis of a training program for actors called all over the world as the Stanislavski system. The research Konstantin Stanislavskis My life in art: the paths of a theatre poetics proposes an analysis of Stanislavskis autobiography published in Russia in 1926. Besides an uncommon artistic experience, his first book presents the principles of his work and creative thinking. A better comprehension of Stanislavskis artistic project will allow a different reading of his later books and legacy.
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Souza, e. Silva Silveiro Neto Marta Isaacsson de. "Le Processus créateur de l'acteur : Stanislavski et Grotowski, étude d'une filiation." Paris 3, 1991. http://www.theses.fr/1991PA030075.
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Cagno, José Mauricio. "Teatralizações com vistas a vivências psíquicas e espirituais - relação entre princípios jesuíticos na arte da oratória e as propostas de interpretação para atores de Constantin Stanislavski." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/59/59137/tde-18042012-103740/.
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Encontrando nas leituras do Sermão da Sexagésima de Antonio Vieira (1608-1697) princípios propostos para a arte da oratória que também são reconhecidos nos escritos de Constantin Stanislavski (1863-1938) para a arte da interpretação de atores, parte-se nesse trabalho para a verificação de onde estariam as bases que fundamentam tais princípios em Antonio Vieira e se tais bases estariam, de alguma forma, relacionadas aos trabalhos em teatro de Constantin Stanislavski. Utilizando o que se denomina método comparativo direto entre princípios que constituem as artes da palavra, no caso a oratória religiosa e a representação teatral, chegou-se até os escritos dos Exercícios Espirituais de Inácio de Loyola que em suas propostas estabelecem recursos que eram usados como instrumento no desenvolvimento da arte da oratória jesuítica. Com o apoio da tese de Mario Iannaccone, chegou-se ao importante texto do cineasta Sergei Einseinstein, Teoria geral da Montagem, que nos ajudou a compreender como tais princípios dos Exercícios Espirituais de Inácio de Loyola também se encontram presentes na arte do teatrólogo russo do século XX. Reconhecendo a importância da elaboração da palavra nestas artes, da oratória e da interpretação teatral, e percebendo que tal palavra se propõe em ambos os casos a uma transformação psíquica de seus ouvintes, respectivamente a conversão nos sermões e a catarse no teatro, verificou-se como tal palavra deve ser elaborada a partir dos princípios que esses autores propõem. Para tanto, foin estudado em Marina Massimi as concepções dos dinamismos psíquicos que fundamentam os autores jesuítas em suas propostas de construção da palavra para suas pregações. Inspirados em Margarida Vieira Mendes, especialista em Antonio Vieira, foram recortados alguns itens que ela indica como constitutivos do Sermão da Sexagésima e foi estabelecido um breve roteiro que ajudou a compreender de forma direta as semelhanças que serão verificadas quanto às artes da oratória nos pregadores dos séculos XVI e XVII e do teatro em Constantin Stanislavski. Por fim, analisando os dados obtidos, chegou-se a algumas conclusões destas semelhanças quanto a paralelos de raízes filosóficas e quanto à compreensão dos dinamismos psíquicos humanos, percebendo o porquê de tais práticas conseguirem atingir e transformar o psiquismo de suas audiências.Having found in the words of Antonio Vieiras Sermon of the Sixtieth (Vieira: 1608 1697) the proposed principles for the art of lecture which are also seen in the writings of Constantin Stanislavski (1863 1938) for the art of acting, this work goes on to check where the basis that lay the foundation for such principles in Antonio Vieira lie and whether such bases are somehow related to the theatrical works performed by Constantin Stanislavski. Using what we call direct comparative method among the principles which make up the arts of words in this case the religious lecturing and the theatrical representation we came to the writings of the Spiritual Exercising from Inácio de Loyola, which establish in its proposals the resources used as tools in the development of the Jesuitical lecturing art. With the support of Mario Iannaccones thesis, we came to the outstanding excerpt from the filmmaker Sergei Einsenstein General Theory of the Montage, which helped us understand how such principles of Spiritual Exercising from Inácio de Loyola are also present in the art of the 20th century Russian playwright. Recognizing the importance of word elaboration in such arts lecturing and theatric performance and realizing that such a word aims, in both cases, at a psychological transformation of its hearer, respectively the conversion through the sermons and the catharsis in the theatre, we checked how such word is supposed to be elaborated from the principles proposed by these two authors. To do so, we studied in Marina Massimi the conceptions of the psychiatric dynamisms which serve as a basis for the Jesuit authors in their proposals of word construction in their lectures. Inspired in Margarida Vieira Mendes, who is an expert in Antonio Vieira, some items were transcript to indicate as belonging to the Sermon of the Sixtieth and a brief script to help understand in a direct way the similarities to be investigated regarding the lecturing arts of the 16th and 17th century preachers and the theatre in Constantin Stanislavski. Finally, by analyzing the data obtained, we came to some conclusions about these similarities as for the parallels of the philosophic roots and for the understanding of the human psychic dynamisms, realizing why such practices are able to achieve and transform audiences psyches.
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Farenc, Christine. "Penser l'acteur francais contemporain (hypothèses pour une pédagogie)." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030101.
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Dans un théâtre subventionné en crise, l’acteur français se pense aujourd’hui comme un hyper-citoyen, lui qui fut si longtemps privé de citoyenneté. Tout l’enjeu contemporain de la parole de l’acteur s’incarne dans la quête, nostalgique et militante à la fois, de l’éthos et de la transcendance perdus dans le statut d’infâme. En rejaillissant sur l’existence de l’acteur, l’infamie a cristallisé des affects tenaces, passés dans l’inconscient collectif, modelant l’hexis des comédiens, influençant les pratiques scéniques. Elle a contribué à consolider certaines particularités françaises en matière de pédagogie du jeu, comme la défiance vis-à-vis de la méthode stanislavskienne et du monologue. A cet égard, la comparaison avec l’école de jeu anglaise est instructive. C’est au moment de la laïcisation de l’État, il y a cent ans, qu’un nouveau théâtre fait des choix éthiques et esthétiques encore largement opératoires aujourd’hui, et achève la conversion de l’acteur : d’ancien damné, il deviendra sauveur, missionné par l’État auprès d’une nation-public. Contrairement aux apparences, la mise en infamie de l’acteur a toujours cours. Avec la sécularisation de la société française, elle a quitté le champ métaphysique, pour investir le champ méta-économique. Elle prend sa source dans le rapport statutaire de l’acteur à l’État et impose son coût historique. Un véritable "Complexe d’infamie" de l’acteur est en effet à l’œuvre sur les scènes françaises, assorti d’un tabou de l’intériorité et d’un interdit d’adresse directe au public, agissant comme un grand Sur-moi actoral. Infâme parmi les infâmes, l’acteur alter-ethnique est un cas redoublé du "Complexe d’infamie". L’acteur français noir, en particulier, est un révélateur des contradictions affectant "visiblement" la condition esthétique du comédien et la citoyenneté républicaine. Dans le contexte du quadruplement du nombre des acteurs en France depuis 1980, ce "Complexe d’infamie" éclaire la nature de l’indécision de la pédagogie dramatique. Il gagnerait à être sublimé ou subverti avant toute tentative de refondation pédagogiqueAt a time when subsidised theater is in crisis, the French actor, after being considered a second-rate citizen for such a long time, thinks of himself today as a super-citizen. The contemporary challenge of speech ("parole") of the actor is embodied in the quest, both nostalgic and militant, for ethos and transcendence, lost in the state of infamy. Rebounding on the existence of the actor, infamy has crystallised stubborn affects, slipped into the collective unconsciousness, shaping the hexis of actors and influencing stage practices. It has helped to consolidate French peculiarities in acting pedagogy, such as mistrust of the Stanislavski method and the monologue. In this respect, comparison with the English school of acting is informative. A hundred years ago, at the time of the secularisation of the State, a new theater made ethical and aesthetic choices, which are still largely operative today, and completed the conversion of the actor: formerly a damned soul, he has become a savior, sent by the State before a national audience. Contrary to appearances, the situation of infamy still exists. It is just that, with the secularisation of French society, the meta-economic field replaced the metaphysical one. Its roots can be found in the statutory relationship between the actor and the State and imposes its historical cost. A "Complex of infamy" for the actor is indeed present on the French stage, together with a taboo on interiority and a prohibition against directly addressing the public, representing a big actorly Super-ego. Infamous among the infamous, the alter-ethnic actor suffers from a doubled "Complex of infamy". The black French actor, in particular, is a mirror of the contradictions "visibly" affecting the aesthetic condition of the actor and republican citizenship. Given the context where the number of actors in France has quadrupled since 1980, this "Complex of infamy" points out the indecisive nature of teaching drama. It needs to be sublimated or subverted before ever attempting any educational reform
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da, Silva Karen. "Unconcealing experience : Heidegger, Stanislavski and the creation of 'truthful' characterisations in dance." Thesis, University of Surrey, 2017. http://epubs.surrey.ac.uk/841587/.
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Throughout the thirty years I have been watching and participating as a dancer in UK dance theatre, I have become increasingly aware of the ways in which female characters are frequently portrayed through limited representations of women. This research begins by acknowledging that this is a problem and proceeds to look at some of the ways in which such limited representations come about and subsequently how the individuality of the person is overlooked. The main objective of this research is to address this problem by offering a new choreographic approach to creating character in dance works. This has been done through an amalgamation of Stanislavskian and Heideggerian processual accounts of truth which intrinsically account for the Being and subjectivity of the performer and character. Through Practice as Research I have developed a new method of choreographing character which intersects dance practice, Heideggerian phenomenology and Stanislavskian approaches to acting. A principal aspect of my original contribution to the field of knowledge lies within the intersection of these practices. I propose that a key attribute towards resolving the problem is through taking time to ‘get to know’ the character; an idea at the heart of social psychological propositions towards resolving problems of social stereotyping. I conclude by making a call for choreographers to consider using techniques from theatre such as the one I outline in this research when creating and presenting female characters within their work. The implications of this research are that approaches from theatre and phenomenology are not merely ideas that can be applied to the body but in fact are practices which can be done and danced. Rather than resorting to limited and sometimes tired representations of women’s experience, the individual lived experience of the character can emerge and drive the creation and performance process to produce a choreographed character whose subjectivity and lived experience is clearly accounted for.
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Inouye, Kevin. "Method in Motion: Grounding a Movement Pedagogy in the Lessons of Stanislavski." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2690.
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This thesis is an exploration of movement pedagogy as a continuation of basic acting lessons from Stanislavski. Using the example of an introductory semester of movement instruction, physical acting and movement concepts are explained in terms of their connection to and derivation from universally accepted acting terminology and ideas. This is put forth as a way to facilitate the synthesis of movement instruction with other acting curriculum, as well as providing a new way to view some familiar acting concepts. Several specific examples are explored in more depth as case studies in physical equivalents to the intellectual, visual, or emotional techniques familiar to all with a basic knowledge of Stanislavski based acting principles.
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Delduque, Carolina Martins 1985. "Rastros do sistema de Stanislavski : procedimentos para o trabalho de criação do ator." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284595.
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Orientador: Verônica Fabrini Machado de AlmeidaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa se insere no campo das investigações sobre o trabalho do ator e tem como tema o trabalho de criação do ator, a partir dos pressupostos do Sistema de Stanislavski. O trabalho abriu-se em duas frentes: o campo teórico e da práxis cênica, que correram em paralelo, dinamizando uma à outra. Numa delas, foi feito um reconhecimento teórico do tema, no trabalho desenvolvido por pesquisadores, atores e/ou diretores que trabalharam com o mestre russo ou tiveram suas raízes declaradamente fincadas nesse Sistema. Nesse sentido, por um lado a investigação procurou oferecer dados históricos, com referências sobre Michael Chekhov (1891-1955) e Eugênio Kusnet (1898-1975), por meio dos quais foi traçado um percurso geográfico e cronológico, entre Brasil e Rússia, e entre os séculos XX e XXI. Por outro lado, buscando rastrear e refletir sobre aspectos fundamentais de seus ensinamentos na cena russa (berço dessa tradição), apresentamos ao leitor, a análise de conferências de três nomes do teatro russo oriundos dessa tradição - Anatoli Vasiliev, Tatiana Stepatchenko e Mikhail Chumachenko. Já no campo da prática cênica, foi utilizado o texto de Anton Tchekhov As Três Irmãs, como ponto de partida e referência para criação do ator. Num processo de experimentação, a partir do texto dramático de um dramaturgo contemporâneo a Stanislavski e seu "parceiro", buscamos, na criação de cenas teatrais, experimentar os procedimentos para o trabalho do ator derivados do Sistema para compreendê-los com o próprio corpo, e não só com o intelecto, e assim, redimensionar as discussões, questões e análises teóricas
Abstract: This research falls within the field of investigations on the actor's work and has as its theme the actor's creative work, from the assumptions of the Stanislavski's System. The work was opened on two fronts: the theoretical field and practical scenic, which ran in parallel, stimulating each other. In one of them an acknowledgment was made of the subject, about the work of researchers, actors and / or directors who worked with the Russian master or had their roots in this system. In this respect, on one side the research sought to provide historical data, with references about Michael Chekhov (1891-1955) and Eugene Kusnet (1898-1975), through whom a route was traced geographically and chronologically, between Brazil and Russia and between the XX and XXI centuries. On the other hand, trying to trace and to reflect on key aspects of their teaching in the Russian current theatre (birthplace of this tradition), we present the reader with analysis of three conferences with Russian's men of theater from this tradition - Anatoli Vasiliev, Tatiana Stepatchenko and Mikhail Chumachenko. In the area of the practice, we used the Chekhov's play, The Three Sisters as a starting point and reference for creating the actor. In a process of experimentation, from the dramatic text of a contemporary playwright to Stanislavski and his "partner", we seek, in the creation of theatrical scenes, test procedures for the actor's work derived from the system to understand them with his own body, not only with the intellect, and thus to resize the discussions, questions and theoretical analysis
Mestrado
Artes da Cena
Mestra em Artes da Cena
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Dias, Natacha. "As relações entre corpo e memória de Stanislavski a Grotowski - um olhar de filiação artística." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-25022014-161915/.
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Este estudo propõe um olhar sobre o surgimento e continuidade de uma tradição criativa, baseada no trabalho do ator sobre si mesmo, a partir do elo estabelecido entre os artistas Konstantin Stanislavski (1963-1938) e Jerzy Grotowski (1933-1999). A produção de Stanislavski, na Rússia do início do século, gerou um Sistema artístico e pedagógico que, difundido por todo o mundo, tornar-se-ia a mais forte referência no campo da criação e da formação do artista da cena teatral. Menos de vinte anos depois, na vizinha Polônia, o diálogo de Grotowski com os fundamentos deixados pelo mestre russo produziria uma poética baseada não na repetição do modelo original, mas na trasmutação desse. Concentrados essencialmente no aspecto artesanal do ofício teatral, os dois artistas exploram, na arte do ator, as fronteiras entre arte e vida. Dessa forma, suas práticas suscitam, no criador e no espectador, questões sobre os mesmos binômios fundamentais, como sujeito individual/coletivo, consciência/inconsciência, mente/corpo, espiritual/carnal. Stanislavski e Grotowski consideram, ainda, partir das perspectivas de épocas e culturas distintas, as relações entre o corpo e a memória como um eixo importante do qual se ramificam elementos de ordem técnica, poética e ética. Este trabalho dedica-se a observar, nas trajetórias dos dois criadores, pontos de convergência ou de divergência na formulação dos conceitos de memória emotiva (de Stanislavski) e de corpo-memória, ou corpo-vida (de Grotowski). Observa, também, outras noções fundamentalmente ligadas ao papel do corpo no ofício do ator, tais como ação, organicidade, impulso, contato e comunicação, à luz da perspectiva de filiação artística que une os dois artistas.The present study proposes a look at the birth and continuity of a creative tradition based on the actor\'s work about himself, starting from a creative link established between the artists Konstantin Stanilavski (1963-1939) and Jerzy Grotowski (1933-1999). The production of Stanislavski in Russia at the beginning of the 20th century, generated an artistic and pedagogic System which, worldwide spread, became a strong reference in the field of artist\'s creation and training on the theater scene. Less than twenty years later, in neighboring Poland, Grotowski\'s dialogue with the basic teachings left by the Russian master would produce a poetics based, not on the repetition of the original model, but on the transmutation of it. Concentrated mainly on the handmade craft of the theatrical practice, the two artists explore, in the actor\'s art, the boundaries between art and life. Thus, their practices raise in the creator and the spectator questions about the same fundamental pairs, individual subject/group, conscience/inconscience, mind/body, spirit/flesh. Stanislavski and Grotowski also consider, from the perspectives of different ages and cultures, the relationship between body and memory as an important axis, which branches out as elements of technical, poetic and ethical order. This work is dedicated to observe the pathways of the two creators, points of convergence or divergence in the formulation of concepts of emotional memory (Stanislavski) and body-memory, or body-life (of Grotowski). It also notices other aspects fundamentally linked to the role of the body in the actor\'s craft, such as action, organicity, impulse, contact and communication in the light of the prospect of artistic affiliation that unites the two artists.
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Santolin, Rosane Faraco. "Stanislavski na ópera : procedimentos e técnicas para o cantor-ator e o espetáculo." Universidade do Estado de Santa Catarina, 2013. http://tede.udesc.br/handle/handle/1271.
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Previous issue date: 2013-04-26Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A presente pesquisa tem o objetivo de apresentar o percurso histórico do encenador Constantin Stanislavski no gênero da ópera e refletir sobre suas ideias e práticas neste ramo. Ele esteve à frente de estúdios de ópera de 1918 a 1938, dirigiu diversas óperas e adaptou o seu ¿sistema¿ para atores, criando um ¿sistema¿ que pode ser considerado como direcionado aos cantores-atores de ópera. No trabalho com a ópera, Stanislavski elaborou o chamado Sistema e Métodos da Arte Criadora, o qual se constitui de uma escada metafórica com sete degraus imaginários nos quais cada cantor-ator deveria subir de forma a atingir o seu próprio círculo criador. Dos degraus, pelo menos os quatro últimos foram elaborados especificamente para os cantores-atores. O tempo-ritmo é um conceito utilizado por Stanislavski em seu ¿sistema¿ tanto para atores quanto para cantores e seu desenvolvimento e aprofundamento em muito se deve ao envolvimento de Stanislavski com a ópera, gênero que teve imensa importância em sua vida artística. Ademais, o seu trabalho com este gênero ainda é muito negligenciado no Brasil e esta dissertação vem contribuir para a bibliografia em português sobre o tema.
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Capucci, Raquel Rodrigues. "Perejivanie : um encontro de Vigotski e Stanislavski no limiar entre Psicologia e Arte." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/23604.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Psicologia, Programa de Pós-Graduação em Processos de Desenvolvimento Humano e Saúde, 2017.Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-05-22T20:20:00Z No. of bitstreams: 1 2017_RaquelRodriguesCapucci.pdf: 4059585 bytes, checksum: 923baff1371fa3c00ebb96213304e9a3 (MD5)
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Além de compartilharem da mesma origem cultural e terem se nutrido do materialismo histórico-dialético, Vigostski e Stanislavski abordaram o tema da experiência humana, na vida e na arte. O termo perejivanie (переживание) foi amplamente abordado nas obras dos dois autores: por Stanislavski, para designar a experiência do ator na construção da personagem; por Vigotski, em seus estudos sobre o desenvolvimento humano, e para compreender a formação da personalidade como drama. Partimos de uma questão norteadora para a composição deste trabalho: quais são as relações entre a perejivanie e os processos criadores na arte e na vida? Este trabalho promove uma análise conceitual e um diálogo entre as obras de Vigotski e Stanislavski explorando a perejivanie e os processos criadores na arte e na vida, a partir de uma interlocução entre a psicologia e a arte. Os objetivos específicos foram: 1) analisar o conceito de perejivanie articulado aos processos criadores na arte: construção da personagem em Stanislavski e formação do ator em Vigotski; e 2) problematizar as relações entre perejivanie e processos criadores na formação dramática da pessoa na obra de Vigotski em diálogo com o desenvolvimento da pessoa (ator) em Stanislavski: a ética e a estética. Acessamos, também, as obras dos autores em outros idiomas, como o espanhol e o inglês, a fim de lidar com questões de tradução e compreender seus escritos de forma mais próxima ao original em russo. Assim como os atores no palco, nós estamos sempre atuando. A cada cena que se estrutura em nossa vida, somos compelidos a encarnar os papéis que nos constituem, vivendo as contradições inerentes à experiência humana. Encarnamos esses papéis para a plateia das nossas relações, enquanto vivemos o conflito entre o interno e o externo, que sempre nos gera a dúvida: ser ou não ser? Nesta perspectiva, podemos dizer que o teatro é o microcosmo da vida, onde as relações são tensionadas ao máximo e permitem analisar a intrincada trama das determinações humanas, transformadas em verdade poética. O presente trabalho constatou a necessidade de um olhar sobre a perejivanie na arte em uma perspectiva dialética com os estudos psicológicos sobre a perejivanie na vida, entendendo as relações entre a psicologia e a arte a partir do prisma da complementariedade, e não como campos de estudo separados. Tendo em vista que os estudos sobre o desenvolvimento dos sentidos do termo perejivanie são ainda recentes, particularmente quanto a sua compreensão no limiar entre arte e psicologia, esta dissertação vislumbra horizontes a respeito do tema, abrindo possibilidades para estudos futuros mais aprofundados.
In addition to sharing the same cultural origin and nourishing themselves with historical-dialectical materialism, Vigostski and Stanislavski addressed the theme of human experience in life and art. The term perejivanie (переживание) was widely discussed in the works of both authors: Stanislavski used it to designate the actor’s experience in character construction, and Vygotsky used it in his studies on human development, to understand personality development as drama. With that in mind, the following question guided this work: how does perejivanie relate to the creative processes in art and in life? This dissertation promotes conceptual analysis and a dialogue between the works of Vygotsky and Stanislavski, exploring the problem of perejivanie and the creative processes in art and life, based on an interlocution between Psychology and Art. Its specific objectives are: 1) to analyze the concept of perejivanie articulated to the creative processes in Art: the construction of character in Stanislavski and actor training in Vygotsky; 2) to approach the relations between perejivanie and creative processes in the dramatic development of the individual in the work of Vygotsky in dialogue with actor training in Stanislavski: ethics and aesthetics. We also analyzed texts in other languages, such as Spanish and English, in order to deal with translation issues and understand the authors’ writings more closely to the original in Russian. Just like actors on stage, we are always acting. In each scene that is structured in our lives, we are compelled to incarnate the roles that constitute ourselves, living the inherent contradictions to human experience. We embody these roles for the audience of our relations, while we live the conflict between the internal and the external, which always generates the doubt: to be or not to be? In this perspective, we can say that theater is a microcosm of life, where relations are tensioned to the maximum, which allows us to analyze the intricate web of human determinations, transformed into poetic truth. This study identifies the need for a look at the perejivanie in art from a dialectical perspective with the psychological studies on the perejivanie in life, understanding the complementary relations between Psychology and Art. Since studies on the meanings of the term perejivanie are still recent, particularly in relation to understanding it in the threshold between Art and Psychology, this study broadens horizons for the subject, leaving room for further studies.
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Goncalves, Cristiano Peixoto. "A perspectiva orgânica da ação vocal no trabalho de Stanislavski, Grotowski e Brook." Universidade Federal de Minas Gerais, 2011. http://hdl.handle.net/1843/JSSS-8HNFP2.
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This research focuses on the field of the vocal action, based on concepts found in the works of the theater directors Constantin Stanislavski, Jerzy Grotowski and Peter Brook. Their principles and process converge to an intersection: what Grotowski named organic pole of the acting techniques. This research not only works on theprocess strictly linked to the voice and the word, but also analyzes the relation between the acting totality and the work about the vocal action among each of those directors. From an organic perspective, we intend to analyze the principles and process of the vocal action in the work of the actor. We also intend to compare the approach of those directors. Besides identifying and analyzing the amalgam of vocal action with the concepts linked to organicity in the work of those directors, thefollowing central points are studied: i) the pragmatic and conceptual differences that could be raised in the vocal action approach (and their determinants) related to the principles that guide those directors work; ii) how a specific principle of work, which is pointed by a specific director, performs or could perform in the work of the other directors. In order to develop this discussion, a comparative work is done, emphasizing similarities and contrasts regarding the relation with public, theapproach with the musicality of the voice, the notion of contact and character, by clarifying those directors focus of interest and the basic principles for the vocal action.O território de investigação desse trabalho é a ação vocal. O tema é analisado no trabalho dos diretores Constantin Stanislavski, Jerzy Grotowski e Peter Brook cujos procedimentos e princípios convergem para um ponto de interseção: o que Grotowski nomeou de polo orgânico das técnicas de atuação. A pesquisa investiga não somente os procedimentos ligados estritamente à voz e a palavra, mas buscatambém relacionar, em cada um desses diretores, a pesquisa sobre a totalidade da atuação com o trabalho sobre a ação vocal. O intento é o de analisar, a partir / através de uma perspectiva orgânica, os princípios e procedimentos da ação vocal no trabalho do ator e realizar um estudo comparativo a partir da abordagem desses diretores. Além de identificar e analisar a amálgama da ação vocal juntamente com os conceitos que se relacionam à organicidade no trabalho desses diretores, adissertação se debruça sobre duas questões centrais: Que diferenças conceituais e pragmáticas podem ser destacadas na abordagem da ação vocal (e suas partes constituintes) em relação aos princípios que balizam o trabalho desses diretores? Como determinado principio de trabalho, evidenciado por determinado diretor, opera, ou pode operar, no trabalho dos outros diretores? Com o intuito de aprofundar essadiscussão, é realizado um estudo comparativo que põe em destaque asaproximações e distanciamentos que tangem a relação com o público, o trato com a musicalidade da fala, a noção de contato e personagem, evidenciando tanto o foco de interesse desses diretores quanto princípios fundamentais para a ação vocal.
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Coveñas, Rodas Víctor Hugo José, and Guzmán Daniela Lucía Zea. "La realidad en escena : Abordando la actuación desde la aproximación a Meisner y Stanislavski." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2018. http://tesis.pucp.edu.pe/repositorio/handle/123456789/13084.
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La presente investigación plantea la complementariedad de la Técnica Meisner con el
Sistema Stanislavski que es utilizado, de manera estructural, en la formación de los
alumnos de la Especialidad de Teatro de la Facultad de Artes Escénicas de la Pontificia
Universidad Católica del Perú. Una obra teatral exige verosimilitud en distintos elementos
escénicos, pero, principalmente, en el actor. La verosimilitud es visible en el actor a través
de su espontaneidad, la cual puede ser dividida en acción física e improvisación. Creemos
que el sistema Stanislavski desarrolla de manera sucinta el elemento de la acción física y
la técnica Meisner, la improvisación. Esta complementariedad radica en la suma de la
estructura actoral basada en una acción clara y precisa (Stanislavski) con, la flexibilidad
de esta estructura desde la mirada al otro (Meisner), logrando una conexión real, lo que
te lleva al aquí y ahora. Con esta conjunción, se logrará mayor espontaneidad y
verosimilitud en el trabajo actoral de los alumnos, brindándoles mayor confianza en su
desenvolvimiento actoral. Para indagar acerca de este fenómeno, buscamos propiciar un
espacio donde podamos analizar el comportamiento de la espontaneidad en el actor. Con
esta meta, elaboramos un laboratorio teatral donde sea observable la interacción del
Sistema Stanislavski con la aproximación a la Técnica Meisner. Por lo expuesto
anteriormente, buscamos responder la siguiente pregunta: ¿De qué manera se
complementan las bases del sistema Stanislavski, en la formación de actores en la facultad
de Artes Escénicas de la PUCP, con la aproximación a la técnica Meisner? Los resultados
de la presente investigación son un aporte importante para tres áreas específicas de acción
de nuestro quehacer: la interpretación actoral, la pedagogía teatral y finalmente, la teoría
teatral; y de esta manera, seguir construyendo conocimiento para mejorar la calidad de
los profesionales teatrales de nuestro país.Tesis
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Castanheira, Carla Isabel Parreira Chora Carvalho. "A metamorfose do ator – Investigação baseada nas metodologias de Constantin Stanislavski e Bertolt Brecht." Master's thesis, Universidade de Évora, 2022. http://hdl.handle.net/10174/31710.
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Pela sua capacidade de adaptação e transformação, o trabalho do ator é, na minha opinião, um processo teatral caracterizado por várias fases - desde a construção de personagem à interpretação da mesma – e, por isso, o elemento central no exame crítico da cena teatral.
A presente dissertação tem como principal objetivo investigar a fim de perceber a que meios/técnicas o ator recorre no seu processo de construção de personagem e como as metodologias utilizadas por quem o dirige influenciam o resultado do seu trabalho.
Nesta minha pesquisa laboratorial, que consistia numa comparação de metodologias onde o foco foi todo o processo criativo desencadeado pelos atores, priorizarei as metodologias desenvolvidas por Constantin Stanislavski e Bertolt Brecht. Entendo que tanto um como outro trouxeram contributos decisivos para o desenvolvimento do trabalho do ator e influenciaram igualmente as várias linhas e escolas no âmbito do pensamento e realização teatrais. Interessou-me analisar as suas diferenças metodológicas e perceber como cada um dos métodos desenvolvidos por cada um destes pensadores de teatro acabam por influenciar e determinar o processo criativo do ator. Para além da análise comparativa, relativa à receção que cada uma das metodologias encontrou junto de teatrólogos de renome, pretendi - com base no texto de Henrik Ibsen “A Casa de bonecas” - construir um laboratório de experimentação e investigação, no qual foram utilizadas as duas metodologias, numa estratégia comparativa, na construção cénica.
Numa altura em que a encenação adquire o valor de obra de arte, este estudo desenvolve o conceito de metamorfose do ator em personagem, valorizando/destacando todo o seu trabalho; ABSTRACT: Ator’s metamorphosis – Research based on Constantin Stanislawski and Bertolt Brecht’s methodologies -
Due to his ability to adapt and transform, the actor's work is, in my opinion, a theatrical process characterized by several moments – from the construction of the character to its interpretation – and, therefore, it is the central element in the critical examination of the theatrical scene.
The main objective of this dissertation is to investigate, to understand which means/techniques the actor uses in the process of character construction and how the methodologies used by those who direct him influence the result of his work.
In this laboratory research, which consisted in a comparison of methodologies where the focus was on the entire creative process triggered by the actors, I will prioritize the
methodologies developed by Constantin Stanislavski and Bertolt Brecht.
From my point of view, they have both brought decisive contributions to the development of the actor's work and they have also influenced the various lines and schools in the scope of theatrical thinking and performance. I was interested in analysing their methodological differences and in understanding how each of the methods developed by each of these theatre thinkers end up influencing and determining the actor's creative process.
Apart from the comparative analysis, regarding the reception by renowned playwrights of each of these methodologies, I intended – based on the text by Henrik Ibsen "The Dolls House" – to build an experimentation and research laboratory, in which the two methodologies were used, in a comparative strategy, in the scenic construction.
At a time when staging acquires the value of a work of art, this study develops the concept of metamorphosis from actor into character, valuing/highlighting all his work.
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M'Rabet, Moez. "Stanislavski dans le théâtre américain : réception, transmission et évolution d'une approche du jeu théâtral." Paris 3, 2007. http://www.theses.fr/2007PA030035.
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Après la Russie, c’est sans doute aux États-Unis que l’influence de Stanislavski, « père » de l’art du jeu moderne, fut - et reste – prépondérante. Par son intensité, son ampleur, sa longévité, mais aussi par sa capacité à surmonter nombre d’obstacles (politiques, linguistiques, culturels), le rapport de Stanislavski au théâtre américain apparaît indéniablement comme un phénomène étonnant et fascinant. Rares furent, cependant, les études de cette influence tenant compte à la fois de l’héritage russe et de l’impact du Système sur le jeu de l’acteur américain, et s’inscrivant dans une perspective historique, esthétique, voire anthropologique. Cette recherche vise à définir les processus de réception, de transmission et les voies d’assimilation du Système aux États-Unis. Cette aventure a-t-elle amené une préservation et un enrichissement de cet héritage, ou, au contraire, l’a-t-elle marginalisé, déformé, voire trahi ? Il s’agit également de comprendre si cette transmission a servi le théâtre américain et lui a permis d’évoluer, ou l’a desservi, en provoquant une véritable crise esthétique et identitaire responsable de l’« éclatement » du milieu théâtral américain en différentes « confessions », prônant chacune une interprétation du Système, comme tendent à l’affirmer les travaux essentiellement nord-américains effectués, dans ce domaine, jusqu’à nos joursOutside Russia, it goes without saying that Stanislavski's influence in the USA, the father of the art of modern acting, has been the most important of all. Because of its intensity, its impact, its longevity as well as its capacity for overcoming a large number of obstacles ( political, linguistic and cultural), Stanislavski ' relationship to the American theatre certainly appears as an astonishing and fascinating phenomenon. However, there have been few studies about this influence taking into consideration altogether the Russian heritage and the impact of the system on the American actor, in line with the historical, aesthetic and perhaps even the anthropological perspective. This research aims at defining the processes of reception, transmission and the means of assimilation of the system in the USA. Has this adventure brought about the preservation and enrichment of the Russian heritage or, has it, on the contrary, marginalized it, distorted it or, perhaps even betrayed it? We also need to understand whether this transmission has served the American theatre and has allowed it to evolve or has harmed it by causing a true aesthetic and identity crisis which has led to the breaking-up of the American theatrical milieu into a variety of denominations, each one advocating its own interpretation of the system as it appears in the latest works in the field most of which are essentially North-American
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Levanen, Leo. "Realismi ja eläytyminen : Mihail Štšepkin, Konstantin Stanislavski ja Sergei Obraztsov teatteriperinteensä luojina ja kehittäjinä /." Oulu : Oulun yliopisto, 1995. http://catalogue.bnf.fr/ark:/12148/cb414905178.
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Araujo, Aline Soares. "Construção cênica para a canção: princípios de Stanislavski numa proposta de expressão cênico-musical." Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/AAGS-8ZUM5Q.
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In our self-experiences and also dealing with other singers, we perceive that some singers, and specially lyrical singers, frequently come across difficulties to associate bodily work to the vocal work they produce. While performing, they often feel unprepared or short of resources to express themselves the way they really wished. Usually, few enjoy the expressive possibilities which result from the relations either between their body and the music, their body and voice or space and the public. In face of the shortage of a bibliography in Brazil that approaches a scenical-corporal work directed to the singer, this research proposes the development of some principles which could become the basement of technical possibilities that may help the singers in both their studies and performances. For that, we resort mainly on the theatrical bibliography, not only for its already broad availability, but also because it has employed musical elements to elaborate and develop, which evidences the interaction between Music and Theatre. After a wide literature review, based on Constantin Stanislavskis' proposals, we chose a few main themes, specially those concerning his System of Physical Actions. We relate those themes to some other authors' teachings and elaborate a scenic creation path for the Art Songs through which a singer may follow in order to work both expressive and pre-expressive matters. Hence, the scenic construct resultant from the fusion between chamber songs and the hereby proposed schemes, is expected do help the singing performer develop their own scenic-corporal expression possibilities. Considering that this development aims to provide more safety and broader resources, we believe that the singer can rely on those scenic construction paths not only to perform the art song, but also other musical genders which they might execute.Em nossa própria vivência e também do convívio intenso com outros cantores, percebemos que alguns cantores, e em especial os cantores líricos, se deparam frequentemente com dificuldades de associar um trabalho corporal ao trabalho vocal que realizam. Durante suas performances, muitas vezes se sentem despreparados ou sem recursos para se expressarem da maneira como realmente desejariam. Não raro, pouco usufruem de possibilidades expressivas resultantes das relações entre seu próprio corpo e a música, entre seu corpo e sua voz, o espaço e o público. Diante da escassez no Brasil de uma bibliografia que aborde um trabalho cênico-corporal voltado para cantor, esta pesquisa propõe o desenvolvimento de certos princípios que possam ser as bases de possibilidades técnicas, auxiliando os cantores em seus estudos e em suas performances. Para isso, nos amparamos sobretudo na bibliografia teatral, não apenas por sua já ampla disponibilização, mas pelo fato de empregar elementos musicais em sua elaboração e desenvolvimento, evidenciando a interação entre Música e Teatro. Após uma ampla revisão bibliográfica, fundamentada nas propostas de Constantin Stanislavski, selecionamos alguns pontos principais, especialmente aqueles voltados para o seu Sistema de Ações Físicas. Associamos a esses pontos alguns ensinamentos de outros autores e elaboramos um percurso de criação cênica para o gênero Canção de Câmara, por meio do qual um cantor possa se guiar a fim de trabalhar questões expressivas e pré-expressivas. Espera-se que a construção cênica, resultante da fusão entre as canções de câmara e os esquemas ora propostos, auxilie o performer cantor no desenvolvimento de suas próprias possibilidades expressivas. Considerando que tal desenvolvimento vise proporcionar maior segurança e ampliação de recursos, acreditamos que o cantor possa se valer destes percursos de construção cênica não apenas para a performance da canção, mas para a de outros gêneros musicais que venha a trabalhar.
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Greve, Sabrina Tozatti. "O Ator do teatro ao cinema: um estudo sobre apropriações." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-06022018-100232/.
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Esta dissertação se propõe a investigar a função do ator e seu modelo de interpretação para o cinema, partindo de apropriações da pesquisa teatral. A partir do sistema de atuação criado por Konstantin Stanislavski, estabeleço uma trajetória de apropriações que se inicia concomitantemente ao desenvolvimento da linguagem cinematográfica, contemplando primeiramente a pesquisa dos cineastas russos Lev Kuleshov, Sergei Eisenstein e Vsevolod Pudovkin. Em um segundo momento, analiso como as ideias de Stanislavski chegaram nos Estados Unidos, influenciando tanto o teatro quanto o cinema americanos. A criação do Actors Studio e a formulação do \"Método\" americano de interpretação são abordadas sobretudo a partir das ideias de Elia Kazan e Lee Strasberg. Por fim, no Brasil, discorro sobre o projeto Prêt-à-Porter (1998 - 2011), criado por Antunes Filho, e sua influência na formação de toda uma geração de atores presentes na produção cinematográfica contemporânea. Nesse percurso que vai do teatro ao cinema, em certos momentos numa via de mão dupla, destaco os procedimentos que contribuíram para o processo de criação dos atores, e a forma como influenciaram sua expressão em ambas as áreas da criação artística.This project aims at investigating the role of the actor and his/her model of acting for the screen, from a theatrical perspective. Starting with the System created by Konstantin Stanislavski, I establish a trajectory of appropriations, contemplating primarily the researches of Soviet filmmakers Lev Kuleshov, Sergei Eisenstein and Vsevolod Pudovkin. Then, I analyze the arrival of Stanislavski\'s ideas at the United States, and how they influenced both American theater and cinema. The creation of the Actors Studio and the formulation of the American Method of acting will be approached mainly through Elia Kazan and Lee Strasberg\'s ideas. Finally, in Brazil, I analyze the project Prêt-à-Porter (1998 - 2011), created by Antunes Filho, which influenced the formation of a whole generation of actors also present in contemporary film production. Thus, I highlight some procedures that highly contributed to the creative process of actors, from the stage to the screen.
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McCaghren, Paxton H. "Pigments of Imagination: An Actor's Journey of Creating the Character of Jack Lawson from David Mamet's Race." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1600.
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Abstract
The purpose of this study is to create a believable, multiple dimension character portrayal of Jack Lawson in David Mamet’s Race. Documentation of the process will include: an explanation of the acting technique and analysis used to create the backstory and portrayal of the character; insight into the background and beliefs of playwright, David Mamet; and a personal review of my growth and performance.
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Pinto, Pedro Arnaldo Henriques Serra. "Eu, o outro e nossas circunstâncias: o legado de stanislavski para uma formação teatral eticamente comprometida." Escola de Teatro da Universidade Federal da Bahia, 2013. http://repositorio.ufba.br/ri/handle/ri/14511.
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CAPES/MEC
Esta tese se justifica no âmbito do aprendizado do teatro, mais propriamente no ensino da interpretação teatral. O corpus desta pesquisa é o Sistema Stanislavski, principal método de formação de atores desenvolvido no século XX. A hipótese é a de que em contato direto com os ensinamentos éticos presentes nesse sistema de motivações psicofísicas, o sujeito desenvolve, como condição primaz de sua formação, a capacidade de avaliar, julgar e decidir. A tese parte de conceituações e noções fundamentais da Ética para suscitar uma reflexão sobre comportamentos e ações correntes na prática teatral. Em seguida, ressalta-se a representatividade de Constantin Stanislavski (1863-1938) no cenário teatral do século XX, bem como são expostos seus ensinamentos que preconizam, privilegiam e valorizam um trabalho coletivo eticamente experienciado. A tese levanta e analisa, então, sete princípios éticos defendidos pelo mestre russo, e comenta-lhes a pertinência e vigência no contexto de minhas práticas artísticas e docentes na universidade brasileira. A investigação se inscreve, portanto, em perspectivas práticas e teóricas que foram trabalhadas simultaneamente no decorrer da pesquisa.
ABSTRACT This dissertation addresses aspects of theatrical training, more specifically those related to acting. The corpus of this research is the Stanislavsky System, the main method of actor training developed in the twentieth century. The hypothesis is that, in direct contact with the ethical teachings of this system of psycho-physical motivations, the subject develops, as an essential condition of his/her formation, the ability to evaluate, judge and decide. The thesis draws upon fundamental concepts and notions of Ethics in order to reflect on theatrical practice. Moreover, it emphasizes both the importance of Constantin Stanislavsky (1863-1938) for the theater in the twentieth century and his teachings that advocate, prioritize and value a collective work ethically experienced. The dissertation identifies and then analyzes seven ethical principles defended by the Russian master and calls attention to their pertinence and validity in the context of my artistic and teaching practices within the Brazilian higher education. The investigation is thus inscribed into practical and theoretical perspectives that were interwoven in the research. Key-Words: Theatrical Practice. Stanislavsky. Training in acting. Moral and ethical aspects.
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Coimbra, Jo?o Paulo Valadares. "O ator antes da cena: procedimentos de criação através da linha de ações físicas em Stanislavski e Grotowski." Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/JSSS-8ZBGG4.
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This paper aims to revisit, on the prism of "physical action" some processes of creation of Konstantin Stanislavski and Jerzy Grotowski name a few co-related concepts such as "if" magic, "given circumstances", "task", "super-task", speaks scenic and "time-rhythmic" in Stanislavski and "discipline and spontaneity, "Impulses", "associations", "contact" and "total action" in Grotowski. The idea is to search a text that offers an easy to read, for both professionals and students of theater, in order to contribute to the solution of practical problems present in the daily lives of actors and directors who use or would like to use physical action in their work.Esta dissertação tem por finalidade revisitar, sobre o prisma da ação física, alguns processos de criação de Konstantin Stanislavski e Jerzy Grotowski elencando alguns conceitos co-relacionados como se mágico, circunstâncias dadas, tarefa, super-tarefa, fala cênica e tempo-rítmico em Stanislavski; e disciplina e espontaneidade, impulsos, associações, contato e ação total em Grotowski. A idéia é uma pesquisa que ofereça um texto de fácil leitura, tanto para profissionais quanto estudantes de teatro, com o objetivo de contribuir para a solução de problemas de ordem prática presentes no dia a dia de atores e diretores que utilizam ou gostariam de utilizar da ação física em seu trabalho.
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Piacentini, Ney Luiz. "Eugênio Kusnet: do ator ao professor." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-22082012-163914/.
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A trajetória de Eugênio Kusnet, de ator a professor, é o objeto deste projeto. Vamos averiguar que, desde quando retomou seus vínculos com o teatro no Brasil, Kusnet era um ator em formação, com pouca experiência artística no seu país de origem - a Rússia, de onde emigrou para o Brasil. Veremos que a compreensão da obra daquele que foi sua maior influência, Constantin Stanislavski, aconteceu de forma gradativa e observaremos de que modo ele a aplicou exemplarmente na encenação de Os Pequenos Burgueses no Teatro Oficina, na década de 1960. Destacaremos a viagem que Kusnet fez de volta a Rússia em 1968, que provocou nele mudanças que permaneceram entre suas inquietações até o final da vida. Vamos nos deter principalmente no que ele denominou como Método da Análise Ativa e investigar como aplicava este procedimento, no qual a direção e os atores de uma peça teatral abandonam os exaustivos estudos do texto sentados ao redor de uma mesa e passam a analisá-lo com as pernas, isto é, experimentando compreender a dimensão da obra teatral através de improvisações planejadas. Os três livros que deixou, principalmente o último, Ator e Método - que é para nós uma síntese dos dois anteriores (Iniciação à arte dramática e Introdução ao Método da Ação Inconsciente) - é o guia para entender o ponto de vista de Eugênio Kusnet, a tradução prática e teórica no Brasil dos elementos, procedimentos e princípios que ele absorveu de Stanislavski e dos discípulos que trabalharam ao lado do mestre russoThe object of this study is the trajectory of Eugênio Kusnet, from actor to professor. It will investigate that, since he had retaken his linkages with the brazilian theater, Kusnet was an ator in formation with little artistic experience in his homeland, Russia. We will see that the compreension of Constantin Stanislavski\'s work, his greatest influence, happened gradually. Starting from the Teatro Oficina\'s staging of Os Pequenos Burgueses in the sixties, we will observate how we aplied Stanislavski\'s method. This work gives a highlight on Kusnet\'s travel back to his homeland Russia in 1968, and the significant changes that this experience contribuied to his work until his final days. It will examine what he called \"Active Analyse Method\" and see how he applied this procedure, wich consist in abandoning the table-read (read-through) by the actors and the director and starting to analyse it \"with the legs\", or in other words, by experimeting the dimension of the theatrical work trough planned improvisation. The three books that he left, specially the last one, Ator e Método - wich is, by our comprehension, a synthesis of the former two (Iniciação à arte dramática e Introdução ao Método da Ação Inconsciente) - is the guide to understand Eugênio Kusnet\'s point of view, the practical and theoretical translation in Brasil of the elements, procedures and principles that he has absorbed from Stanislavski and the disciples that worked with the russian master
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Johnston, Daniel Waycott. "Active Metaphysics: Acting as Manual Philosophy or Phenomenological Interpretations of Acting Theory." University of Sydney, 2008. http://hdl.handle.net/2123/3984.
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PhDThis thesis considers actors as ‘manual philosophers’; it engages the proposition that acting can reveal aspects of existence and Being. In this sense, forms of acting that analyse and engage with lived experience of the world offer a phenomenological approach to the problem of Being. But rather than arrive at abstract, general conclusions about the human subject’s relationship to the world, at least some approaches to acting investigate the structures of experience through those experiences themselves in a lived, physical way. I begin with the troubled relationship between philosophy and theatre and briefly consider the history of attacks on actors. I suggest that at the heart of antitheatricality is what Jonas Barish (1981: 3) calls ‘ontological queasiness’: theatre poses a problem in the distinction between ‘what is’ and ‘what is not’. Turning to phenomenology as a particular way of doing philosophy that challenges any dualistic understanding of subjectivity, I reflect on Martin Heidegger’s Being and Time as a lens for viewing the process of performing and preparing for a role. Heidegger emphasises the intermeshed relationship between the human subject, Dasein (Being-there), and the world to the point that it is impossible to consider one without the other. I have chosen three of the most influential theatre and acting theorists of the twentieth century and examine how each uncovers aspects of existence that are presented in Heidegger’s phenomenology. Firstly, I consider Constantin Stanislavski’s ‘system’ which emphasises action for a purpose within an environment, the individual’s relationship to objects in the world and its involvement with other people who share the same type of Being in the world. Secondly, I examine Antonin Artaud’s conception of theatre that seeks to resist the structures of Being, the way the world is interpreted by others (the ‘They’) and the way that the world gets handed over to consciousness for the most part. In many respects, Artaud’s theatre is the embodiment of Anxiety, a world-revealing state where Being becomes apparent. Thirdly, I discuss Bertolt Brecht’s theatre practice as an attestation to authenticity (a truthful engagement with human existence as possibility) through the medium of performance. Brecht seeks to engage audiences in philosophical debate and change the world. Like Heidegger, Brecht also stresses the historical and temporal constitution of the human subject, whilst emphasising practicality in theatre making. By examining these approaches to performance as case studies, this thesis rethinks the notional intersection of philosophy and theatre, concentrating on process rather than literary analysis. This application of phenomenology is new in that it does not merely consider theatre analysis from an ‘ideal’ audience point of view (i.e. provide a phenomenology of theatre). By focusing on acting, I emphasise the development of artistic creation and becoming, and show how certain types of acting are phenomenological. The bold upshot here is a conception of philosophy that acknowledges various theatre practices as embodied forms of philosophical practice. Furthermore, theatre might well be thought of as phenomenological because it can be an investigation of Being firmly entrenched in practical action and performance. Conversely, philosophy is more than just words on a page; it is a performed activity. Actors can be considered manual philosophers in so far as they engage with the problem of Being not in mere abstraction but in the practical challenges of performance.
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Roberts, Jhanneu. "The True Cost of Our Entertainment: An Inside Look to Modern Method Acting and its Consequences." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1322.
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This goal of this thesis is to examine the physical and emotional cost associated with modern and personal interpretations of Strasberg-based method acting. Although many method actors have created excellent award-winning performances, many were left with emotional and physical harm to their body. In this thesis I will argue that there are actors that can deal with the after effects however, the risks associated with Strasberg-based method often pose both mental and physical health risks to the actor that outweigh the benefit they contribute to the production. To understand what Strasberg-based method acting is I will examine the practices of Stanislavski, the founder of the original “method,” and teacher and actors Stella Adler and Sanford Meisner, and their methods to creating a character. Strasberg, Adler, and Meisner, who are believed to have created their methods based off the Stanislavski Acting System, had many disagreements about Stanislavski’s method. What many now call method acting, incorporates certain techniques created by Stanislavski that actors then use to create their own method.
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Cook, Laura E. "A “Spyback” on Three Years of Graduate Training." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1240242619.
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Enriquez, Andres Ray. "Acting as a life : "What am I doing?"." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3290.
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Legendre, Claire. "La vérité comme enjeu théatral dans les esthétiques scéniques du XXème siècle européen : textes de Constantin Stanislavski, Antonin Artaud, Bertold Brecht." Nice, 2009. http://www.theses.fr/2009NICE2005.
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Le théâtre du XX ème siècle européen, devenu pratique signifiante, a progressivement privilégié les principes de création et de performance, contre celui de la représentation d'un texte. Cette évolution s'est faite par étapes, depuis la révolution copernicienne de la fin du XIXème siècle, qui plaça le metteur en scène au centre de l'activité théâtrale – ce qui fut un bouleversement épistémologique –jusqu'aux expériences polémiques récentes comme celles du Festival d'Avignon 2005. Il nous a semblé reconnaître, sous le scandale de ce théâtre désormais performatif et en prise sur le réel, les influences conjuguées de trois grands réformateurs du théâtre : Constantin Stanislavski en Russie et en URSS, Antonin Artaud en France, Bertolt Brecht en Allemagne. Ils furent, chacun à sa manière, les inspirateurs de cette modalité nouvelle de l'expression scénique : une création désormais autonome et référentielle qui prétend toucher la vérité et utilise le réel comme matériau et comme objet. Leurs textes témoignent de cette priorité donnée à la vérité – une vérité qui sonne comme un absolu, prend des accents mystiques pour Artaud et Stanislavski, une orientation farouchement scientifique / matérialiste pour Brecht. Ce recours à « la vérité » est, pour les trois théoriciens, le garant d'une exigence idéologique dont l'art ne veut plus faire l'économie. Comme art vivant, le théâtre est aussi acteur du réel dans lequel il s'inscrit : il engage non seulement l'esthétique et l'épistémologie des arts, mais encore, la réalité-même, au-delà des murs du théâtre. Le « réel » n'est plus seulement l'objet du discours théâtral, il est son réceptacle et son enjeu. La confrontation de la création avec le monde qui la voit naître, la suscite et l'accueille, est désormais constitutive de l'acte artistique20th Century European drama having become a meaning-oriented practice has gradually favoured the principles of creation and performance over those of a mere representation of a text. This has been a step by step evolution since the ‘Copernician revolution’ of the late 20th century which put the director at the heart of theatrical activity. This change must be understood as an epistemological upheaval culminating in the recent controversial experiments at the 2005 Avignon Festival. Beyond the scandal of this now performative and reality-infused theatre it is possible to make out the combined influences of three major drama reformers, namely: Constantin Stanislavski in Russia and in the USSR, Antonin Artaud in France, and Bertolt Brecht in Germany. They were, each in their way, the inspirers of this new form of scenic expression, henceforth considering creation as a self-reliant and referential process aiming at reaching the truth and using reality as a material as well as an object. Their texts are witnesses to this new emphasis laid on truth, a truth now ringing as an absolute, taking on mystical overtones in Artaud and Stanislavski and a staunch scientific and materialistic direction in Brecht. This call for ‘truth’ is for the three theorists the seal of an ideological demand art can no longer do without. As a living art, the theatre plays a role in the reality it is part of. It has to deal with aesthetics and the epistemology of art but also with reality itself and this, beyond its own walls. ‘Reality’ is not only the object of theatrical discourse but its receptacle and the issue at stake. The confrontation of creation with the world that sees its birth, triggers it and welcomes it, is henceforth part and parcel of artistic action
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Patterson, Kathryn. "An Actor’s Approach to Claire in Proof by David Auburn." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3016.
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The areas of study in the Proof thesis contain research on the play, the playwright, and the acting style utilized in the performance and character analysis. The acting style in this process focuses on the actor’s creative work in preparation of portraying a female character. This character is a controlling woman that is unable to manipulate others. By using relaxation techniques involving the Alexander Technique, the actor was able to transition into the character with honest emotions and motives. Finding similarities to the character by using personal relationships gave the actor the ability to discover connections with the character in portrayal. These connections are used to motivate the actor’s process in creating an authentic character. The results are found through the actor’s reflections and performances. The findings show discipline and routine in the actor’s process to portray the character.
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Bernardino, Vanderlei. "O ator do Teatro de Arena no cinema novo." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-06052014-103815/.
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Esta pesquisa aborda a influência de métodos e técnicas da interpretação do ator no contexto do cinema brasileiro moderno, quando o trabalho, o estilo e os métodos de interpretação do Teatro de Arena encontraram seu desdobramento no estilo de interpretação de atores, em filmes precursores e clássicos do Cinema Novo. Para isso vamos identificar quais as influências técnicas desta interpretação, como o sistema de Stanislavski, o método do Actors Studio, o efeito de distanciamento de Bertold Brecht. Na análise de cenas e sequências de filmes focalizo no trabalho dos atores a interação com a estética, a câmera e a montagem, para a compreensão destas influências. Assim analiso o desempenho de Gianfrancesco Guarnieri no filme O Grande Momento de Roberto Santos, 1958; Nélson Xavier no filme Os Fuzis de Ruy Guerra, 1963; Paulo José em O Padre e a Moça de Joaquim Pedro de Andrade, 1965; Othon Bastos no filme Deus e o Diabo na Terra do Sol de Glauber Rocha, 1963, único não-representante do Teatro de Arena, mas que consolidou sua carreira de teatro na Bahia e mais tarde no Grupo de Teatro Oficina em São Paulo. Estes atores fazem parte do florescimento de uma nova abordagem de interpretação teatral, influenciados pelo estudo das técnicas e na ênfase em retratar o homem brasileiro deste momento sociopolítico e cultural. Os cineastas do Cinema Novo, que buscavam estéticas alternativas e novas formas de diálogo com a realidade brasileira, vão encontrar nestes intérpretes as parcerias para a realização de seus filmes. Sendo assim, esta pesquisa busca um aporte original à questão, e parte da experiência do teatro para fazer a análise do trabalho do ator brasileiro no cinema, levando em conta as diferenças de técnica e de condições do trabalho, mas pensando tais diferenças como o lugar de um mútuo aprendizado que evidencia muito bem tudo o quanto há de comum entre o teatro e o cinema.This study addresses the influence of acting methods and interpretation techniques in the context of modern Brazilian cinema, when the work, style and interpretation methods of the Teatro de Arena were prominent in the styles of actors\' interpretations in the classic Cinema Novo films and their precursors. The technical influences of interpretation will be identified, such as Stanislavksi\'s system, the Actors Studio method, and Bertold Brecht\'s estrangement effect. In the analysis of film scenes and sequences, I focus on the actors and their interaction with the esthetics, the camera, and the set, to better understand these influences. Thus, I analyze the performance of Gianfrancesco Guarnieri in Roberto Santos\' 1958 film The Grand Moment; Nélson Xavier in Ruy Guerra\'s 1963 film The Guns; Paulo José in Joaquim Pedro de Andrade\'s 1965 film The Priest and the Girl; and Othon Bastos in Glauber Rocha\'s 1963 film Black God, White Devil. Othon Bastos, the only actor not representative of the Teatro de Arena, spent his formative theatrical years in the state of Bahia and later in the Grupo de Teatro Oficina in the city of São Paulo. These actors represent the flourishing of a new approach to theatrical interpretation, influenced by the study of techniques and by the emphasis on portraying Brazilians in their social, political and cultural context. The Cinema Novo filmmakers, seeking alternative esthetics and new ways to engage the Brazilian reality, find in these actors the partners they need to make their works. Thus, this study seeks to make an original contribution to the question, analyzing the work of Brazilian actors in cinema based on experience in the theater, taking into account the differences in technique and working conditions, but thinking of these differences as providing space for mutual learning, clearly demonstrating the extent of commonalities between theatre and cinema.
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Mauch, Michel. "Poética e pedagogia: Maria O. Knebel e o monólogo interior." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-18052015-164353/.
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Esta pesquisa tem como objetivo apresentar o desenvolvimento do trabalho artísticopedagógico- teatral de Maria Osipovna Knebel (1898 - 1985). Focamo-nos na criação e no desdobramento de sua filosofia pedagógica, bem como analisamos e discutimos o monólogo interior. No Primeiro Capítulo, enfatizamos a relação de Knebel com Mikhail Tchekhov (1891 - 1965) e os caminhos que levaram-na a seguir a carreira teatral. Dentro desse contexto, fazemos uma breve análise sobre o trabalho improvisacional tchekhoviano e sua influência sobre a formação da diretorapedagoga. Em um salto, vamos da primeira classe de Knebel para o convite de Konstantin Stanislavski (1863 - 1938) para que ela fosse sua ajudante no Estúdio Operístico-Dramático. Procuramos situar a relação política e artística desenvolvida nesse local, dando relevância à renovação do \"sistema\" feita por Stanislavski. Igualmente, buscamos colocar em foco a questão da \'análise do papel durante a ação\', mais conhecida como análise ativa. Nesse ponto, verticalizamo-nos na prospecção pela inteligência e nos études. O Segundo Capítulo também está dividido em duas partes. Em um primeiro momento, discutimos o segundo plano na direção de Vladmir Ivanovitch Nemirovitch-Dantchenko (1858 - 1943). Procuramos salientar a irradiação do pensamento no trabalho ator-personagem e a maneira que esse elemento pode ser corporificado pelo intérprete no trabalho criativo da cena; principalmente no que tange aos momentos de silêncio da obra teatral. Esmiuçamos a visão crítica e o aprendizado sobre questões de direção que Knebel aponta em Nemirovitch-Dantchenko, na condução de Os Courantes do Kremlin de Nicolai F. Pagodin (1900 - 1962), em 1940. Pensando na ação prática da pedagogia knebeliana, levantamos o desenvolvimento de seu trabalho na GITIS (Academia Russa de Artes Cênicas), com apontamentos e referência ao Teatro Central da Criança de Moscou. Expomos a relação aberta de sua pedagogia com Aleksei Dmitrievitch Popov (1892 -- 1961) na verticalização sobre a necessidade de perceber primeiro a experiência no mundo e, posteriormente, traduzi-las sensível, crítica e artisticamente na composição cênica. Sempre numa condução pedagógica libertária e holística. No Terceiro Capítulo discutimos o conceito de monólogo e solilóquio, monólogo interior e fluxo de consciência, tendo como base os conceitos e terminologias da literatura e, posteriormente, do teatro. Ainda sobre o monólogo interior, debatemos a sua importância com os demais elementos do \"sistema\" e sua conjugação no trabalho de Knebel como diretora-pedagoga. Procuramos examinar as relações da criação do monólogo interior e a formação do pensamento na criação, segundo as teorias de Lev Semenivitch Vigotski (1896 - 1934), apontado para as questões sociais, políticas, culturais, ideológicas no desenvolvimento da obra teatralThis research has as objective to present the development of the artisticpedagogical- theatrical of Maria Osipovna Knebel (1898 - 1985). We focused on the creation and deployment of her Pedagogical Philosophy, as well as analyzed and discussed the inner monologue. On the first Chapter, we\'ve had focused on the relationship between Michael Chekhov (1891 - 1965) and on the ways that took her to follow the theatrical career. Inside this context, we did a brief analysis about the improvisational Chechovian and its influence on the Director-Pedagogue\'s formation. Taking a leap, we go from Keble\'s first class to the invitation from Konstantin Stanislavsky (1863 - 1938) for her to be his assistant of the Opera-Dramatic Studio. We\'ve tried to put the political artistic relationship developed in this scenario, giving relevancy to the system\'s renovation done by Stanislavski. Equally, we tried to put the \'analysis of the role during the action\' in focus, more known as active analysis. At this point, we deepen in the prospecting from the intelligence and etudes. The Second Chapter is also divided in two parts. At first, we have discussed the second plan, at the Vladímir Ivânovitch Nemirovich-Danchenko´s direction (1858 - 1943). We have tried to accentuate the radiation of the thinking on the work actor-character and on the way that its element could be internalized by the actor on the scene´s creative work; mainly about the theatrical work moments of silence. We went deep on the critical view and learning about the direction that Knebel point in Nemirovitch- Danchenko, on the conduction of Kremlin Courante by Nicolai F. Pagodin (1900 - 1962) in 1940. Thinking of the practical action of the knebelian pedagogy, we put together it work development at GITIS (Russian Academy of Theatre Arts), with notes and references to the Central Children\'s Theatre. We exposed the open relation on her pedagogy with Alexei Dmitrievich Popov (1892 - 1961), deepen about the necessity on notice, first the experience inside the world and after it, translate it in a sensible-critic-artistic way on the scenic composition. Always in a pedagogical emancipating and holistic leading way. On the Third Chapter we discussed the monologue and soliloquy concept, inner monologue and conscience flow, taking the concepts and literature´s terminologies and, after from the theater. Still on the inner monologue, we discussed its importance with other elements from the \"system\" and its conjugation on Keble\'s work as the director-pedagogue. We´ve tried to look over the relationships on the inner monologue´s creation and on the formation of the thought in the creation process, according to Lev Semyonovich Vygotsky\'s theory (1896 - 1934), pointing to social, politics and ideological on the development of the theatrical piece
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Nyman, Jessica. "Från objekt till tecken - en studie i rekvisita, naturalism och Tjechov." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22413.
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Genom en teoretisk studie kombinerad med praktikbaserad empiri ifrån mitt praktiska arbete redogör jag i denna text för rekvisita som aktör och dess roll inom teater. Med de litterära undersökningarna inom naturalism och Tjechov-tradition och de praktiska erfarenheterna av att arbeta med rekvisita försöker jag ta fasta på vad rekvisita är och hur det används och har använts tidigare i Tjechovs pjäser.
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Granke, Daniel. "Decoding Acting Vocabulary." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3110.
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This paper compares seemingly similar words from a variety of acting teachers, and shows how it is impossible to draw clear comparisons between words that are often used as synonyms. The paper is a reflection of the journey from believing in translation to recognizing its impossibility. In Chapter 1 we focus on one of the most common elements in actor training, Attention/focus/concentration, and analyze the shades of meaning in those words and the difficulty of talking about them in isolation. In Chapter 2 we look at the way in which semiotic analysis can explain the words resistance to equivalence. In Chapter 3 we look at one of the central terms in most collegiate actor training objective, and see how it reveals both the problems inherent in translation. In Chapter 4 we look at how this knowledge can influence the classroom in a positive way.
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Sanchez, Licia Maria Morais. "O processo Pina-Bauschiano como provocação à dramaturgia da memoria." [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285085.
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Orientador: Marcio Aurelio Pires de AlmeidaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho descreve a trajetória de uma experiência influenciada pela escola expressionista alemã, que culminou com a nossa convivência com a mais importante representante desta corrente no mundo contemporâneo atual, a criadora de teatro de dança Pina Bausch. Essa convivência nos mostrou caminhos que vieram enriquecer a fluência da nossa poética com um conseqüente fortalecimento da nossa identidade com projeção universal, permitindo-nos a realização de experiências tanto artísticas quanto pedagógicas e uma reflexão sobre a relação entre as práticas de Bausch e de Stanislavski
Abstract: The present work describes the unfolding of a personal experience - my own experience -, which was influenced by the Gennan Expressionist Dance School and culminated in a stint spent working with Pina Bausch, the creator of Dance Theater and the most important member of such school at the moment. This experience showed me new possibilities, which enriched the fluency of my poetics and strengthened my universal identity, therefore allowing me to have new artistic and pedagogical insights and to reflect about the practices of Pina Bausch and Stanislavski
Mestrado
Mestre em Artes Cênicas
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Stover, James P. "An Exploration on the Michael Chekhov Technique in Rehearsal, Performance and the Classroom." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3743.
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The Michael Chekhov Technique is a unique approach to acting that has been successfully used by professional actors for many years. This thesis explores finding a strong understanding of the technique as well as discovering ways to incorporate it into an undergraduate actor training program. The examination aims to further my aesthetic both as theatre teacher and practitioner. It includes training with master teachers in the technique, incorporating Chekhov exercises into undergraduate acting and movement classes and use of the technique on a production of Pride & Prejudice.
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Johnston, Daniel Waycott. "Active Metaphysics: Acting as Manual Philosophy or Phenomenological Interpretations of Acting Theory." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/3984.
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This thesis considers actors as ‘manual philosophers’; it engages the proposition that acting can reveal aspects of existence and Being. In this sense, forms of acting that analyse and engage with lived experience of the world offer a phenomenological approach to the problem of Being. But rather than arrive at abstract, general conclusions about the human subject’s relationship to the world, at least some approaches to acting investigate the structures of experience through those experiences themselves in a lived, physical way. I begin with the troubled relationship between philosophy and theatre and briefly consider the history of attacks on actors. I suggest that at the heart of antitheatricality is what Jonas Barish (1981: 3) calls ‘ontological queasiness’: theatre poses a problem in the distinction between ‘what is’ and ‘what is not’. Turning to phenomenology as a particular way of doing philosophy that challenges any dualistic understanding of subjectivity, I reflect on Martin Heidegger’s Being and Time as a lens for viewing the process of performing and preparing for a role. Heidegger emphasises the intermeshed relationship between the human subject, Dasein (Being-there), and the world to the point that it is impossible to consider one without the other. I have chosen three of the most influential theatre and acting theorists of the twentieth century and examine how each uncovers aspects of existence that are presented in Heidegger’s phenomenology. Firstly, I consider Constantin Stanislavski’s ‘system’ which emphasises action for a purpose within an environment, the individual’s relationship to objects in the world and its involvement with other people who share the same type of Being in the world. Secondly, I examine Antonin Artaud’s conception of theatre that seeks to resist the structures of Being, the way the world is interpreted by others (the ‘They’) and the way that the world gets handed over to consciousness for the most part. In many respects, Artaud’s theatre is the embodiment of Anxiety, a world-revealing state where Being becomes apparent. Thirdly, I discuss Bertolt Brecht’s theatre practice as an attestation to authenticity (a truthful engagement with human existence as possibility) through the medium of performance. Brecht seeks to engage audiences in philosophical debate and change the world. Like Heidegger, Brecht also stresses the historical and temporal constitution of the human subject, whilst emphasising practicality in theatre making. By examining these approaches to performance as case studies, this thesis rethinks the notional intersection of philosophy and theatre, concentrating on process rather than literary analysis. This application of phenomenology is new in that it does not merely consider theatre analysis from an ‘ideal’ audience point of view (i.e. provide a phenomenology of theatre). By focusing on acting, I emphasise the development of artistic creation and becoming, and show how certain types of acting are phenomenological. The bold upshot here is a conception of philosophy that acknowledges various theatre practices as embodied forms of philosophical practice. Furthermore, theatre might well be thought of as phenomenological because it can be an investigation of Being firmly entrenched in practical action and performance. Conversely, philosophy is more than just words on a page; it is a performed activity. Actors can be considered manual philosophers in so far as they engage with the problem of Being not in mere abstraction but in the practical challenges of performance.
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Otani, Daves. "Geratriz improvisacional espetacular = processo criativo da Boa Companhia =Spectacular improvisational generatrix : Boa Companhia's creative process." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284587.
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Orientador: Verônica Fabrini Machado de AlmeidaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente pesquisa trabalha com a hipótese de que existe uma geratriz improvisacional espetacular (GIE) que, por meio de matrizes criativas definidas anteriormente e/ou encontradas durante o período inicial da montagem de um espetáculo teatral, proporciona que a improvisação, conduzida e provocada pelo tema do espetáculo, gere, ao mesmo tempo, precisão e abertura, rigor e risco. O período inicial marca o espetáculo de forma a dar-lhe uma pré-configuração, a estrutura enquanto um corpo a ser constantemente modelado, no entanto, sedimentado em uma matéria já pré-definida. Para investigar a hipótese, analiso o processo criativo e as apresentações públicas do espetáculo teatral "Primus" (adaptação do conto Comunicado a uma academia, de Franz Kafka) e, via a comparação, investigo ainda o processo criativo de "Mister K. e os artistas da fome" (adaptação do conto Um artista da fome, de F. Kafka) em busca de aprofundar a investigação e comprovar o fenômeno da GIE. Ambos os espetáculos são dirigidos por Verônica Fabrini e montados pelo grupo de pesquisa cênica "Boa Companhia", do qual participo como ator, desde sua formação, em 1992. É uma investigação participativa, do ator em diálogo com a encenação, do atuante que participa e, a partir de sua singularidade, compõe coletivamente. A reflexão toma como mote de partida os princípios conceituais do encenador e teórico russo C. Stanislavski, retrabalhados por E. Kusnet: improvisação como análise ativa, circunstancia propostas, objetivo da encenação, memória, ação interior e exterior, entre outros. Referencia ainda o trabalho aspectos do pensamento do filósofo G. Bachelard: imaginação material, potência do instante e intuição. O estudo conclui que a geratriz improvisacional espetacular de fato se caracteriza no trabalho da "Boa Companhia"
Abstract: The following research deals with the hypothesis that it does exist a spectacular improvisational generatrix (SIG) that, through a creative matrix previously defined and /or discovered during the theatrical initial stage, provides that the improvisation, conducted and provoked by the show's theme, generates at the same time precision and openness, rigor and risk. The initial period defines the show and gives it a pre-configuration to be worked - the structure as a body to be constantly shaped, however, settled in a pre-defined subject. To investigate that hypothesis, I do analyze the creative processes and public theatrical performances of the show "Primus" ( Franz Kafka tale's adaptation of "A report to an academy") and, by comparation, I do analyzed too the play "Mister K. e os artistas da fome" (Kafka tale's adaptation of "A hunger artist") both directed by Veronica Fabrini and performed by the scenic research group "Boa Companhia", in which I belong as an actor since it's foundation in 1992. It's a participatory investigation, a dialogue between actor and staging, of the actor that participates and forms the collective from its singularity. The reflexion begins with the russian theoretical Constantin Stanislavski's principles and theorical concepts, reworked by Eugenio Kusnet: improvisation as active analysis, event, given circumstances, staging objective, memory, inner and outer action. This work makes reference also to the philosopher Gaston Bachelard: material imagination, instant and intuition's power. The study concludes that the spectacular improvisational generatrix (SIG) in fact exists in Boa Companhia's performances and theatrical productions
Doutorado
Artes Cenicas
Doutor em Artes
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Johnson, Anthony Lewis. "Training the Young Actor: A Physical Approach." University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1258075804.
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Tourinho, Ligia Losada. "Um estudo de construção da personagem a partir do movimento corporal." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284814.
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Orientador: Eusebio Lobo da SilvaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa apresenta um estudo sistemático sobre a construção da personagem nas Artes Cênicas, pelo prisma do movimento corporal, utilizando como principal suporte teórico e prático os estudos da Coreologia de Rudolf Von Laban e da Técnica de Stanislavski. Tomamos como base para a fundamentação teórica a idéia de o homem ser uma corporeidade, constituída pela Gestalt CORPO-MENTE-ESPÍRITO, presente nos estudos de Merleau-Ponty, nas consciências corporais e em todos aqueles que acreditam na indivisibilidade do ser humano. Levantamos a hipótese de que a relação de cada intérprete com seu corpo próprio interfere nas extensões de sua interpretação e da encenação em si. O desenvolvimento desta pesquisa se deu a partir da experimentação destes conceitos aplicados a dois tipos de propostas: um processo pedagógico de sistematização destas idéias e uma experimentação de construção de personagem, sob o ponto de vista do intérprete
Abstract: This research presents a study about the scenic construction of the character, based on body movement, and guided by the practical and theorical studies of Rudolf Von Laban choreology and Stanislavski tecnich. The foundation of this study was based on the idea of the man being an unit, as Gestalt BOBY-MIND-SPIRIT, which was present on Merleau-Ponty studies, in body consciousness and in the believe of the indivisibility of the human being. This project enquires the relation of each interpreter with his own body and how it interferes in the extension of his interpretation and in all the staging. The development of this research was based on these concepts, applied on two propositions: the pedagogic process of systematization of these ideas and the experimental on character construction, under the view of the performer
Mestrado
Artes
Mestre em Artes
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Rosa, Maria Lúcia da Silva. "Recitais cênicos no CEP/EMB : proposta de uma abordagem interartística a partir de processos criativos." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/24625.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Artes, 2017.Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-08-17T21:27:16Z No. of bitstreams: 1 2017_MariaLúciadaSilvaRosa.pdf: 4243206 bytes, checksum: 191126ab1dcd272bbd44046f67baccd6 (MD5)
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Neste trabalho de pesquisa procuro refletir sobre a minha experiência compartilhada com músicos/professores e estudantes de música, atores, bailarinos/dançarinos e iluminadores na criação de recitais cênicos no Centro de Educação Profissional Escola de Música de Brasília desde 2003. A partir da reconstrução de dois processos criativos: Recital Cênico “Soirée de Madame Claudine” (2011) e Recital Cênico “Au Jardin de Madame Pauline” (2012), analiso os principais procedimentos utilizados tendo como referencial teórico estudos de dramaturgia teatral, dramaturgia musical, e trabalhos que tratam da música em abordagens interartísticas. Os princípios de Constantin Stanislavski aplicados nos estúdios-ópera e de outros encenadores são tratados neste contexto para subsidiar discussões acerca das contribuições, desafios e potencialidades do trabalho em conjunto de músicos e atores em processos criativos. A metodologia utilizada para desenvolver a pesquisa baseou-se na revisão bibliográfica do tema proposto, em registros do meu acervo pessoal, em relatos próprios e relatos dos participantes dos processos criativos, professores colaboradores e diretores de ópera por meio de entrevistas.
In this research I intend to reflect about my experience together with musicians/teachers and music students, actors, ballet dancers, dancers in general and illuminators for the creation of scenic recitals in the Center of Professional Education - Music School of Brasilia since 2003. From the reconstruction of two creative processes: Scenic Recital: “Soirée de Madame Claudine” (2011) and Scenic Recital: “Au Jardin de Madame Pauline" (2012), I analyze the principal proceedings used as theoretical reference, studies of theatrical dramaturgy, musical dramaturgy and works that deal with music in interartistic approaches. The principles of Constantin Stanislavski applied in opera-studios and other directors are used in this context to discuss about the contributions, challenges and potentialities of the common work of musicians and actors in creative processes. The methodology used to develop the research was based in the bibliographical revision of the theme, in registers of my personal records and in interviews of collaborating teachers and directors of opera.
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Hardcastle, Terry. "CONSIDERING STRASBERG’S METHOD IN THE TWENTY-FIRST CENTURY: A NEW PEDAGOGY." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/2992.
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Student of Richard Boleslavsky and Maria Ouspenskaya, co-founder of the Group Theatre, Artistic Director of the Actors Studio, founder of the Lee Strasberg Theatre and Film Institute, and developer of The Method, Lee Strasberg is one of the most famous acting teachers of the twentieth century. In the same way a concert pianist must practice her scales daily to maintain expertise, Strasberg believed an actor must regularly practice the use of sense memory to be emotionally authentic. Using Strasberg’s Method, this is achieved through a combination of relaxation and concentration, which leads to a sense of truth in performance. The Method, a praxis built on Stanislavski’s own approach to actor training, since the death of its founder has slacked off in popularity. This is noteworthy for the gold standard status the Method once held in the United States. More easily accessible, less process oriented, more demonstrably obvious and observable techniques such as the work of Michael Chekhov have taken stronger hold in some academic circles. Empirical evidence seems to suggest that a mixture of prejudice for the Method and possible personal dislike for Strasberg the man has made this so. Curious to discover if the Method still held value for the next generation, I committed to teaching a Method class to Virginia Commonwealth University undergraduates. Drawing on my experience at the Strasberg Institute studying under Anna Strasberg, Geoffrey Horne, my practical experiences on stage, and research available after Strasberg’s death, I created my own approach to The Method. Through analysis of my students’ Method acting work and my own teaching, I intended to learn the efficacy and practicality of Strasberg’s Method as we begin the twenty-first century: what we can keep, what we must let go, and what we can change for the better.
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Facio, Robert J. "How to Tame a Shrew (11 Things I Hate About Her) An Actor's Method to Characterizing Petruchio in The Taming of the Shrew." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1794.
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The Taming of the Shrew is an early comedy that exposes the oddities we take for granted: curious conventions, wild assumptions, gender roles, relationships, social status, fashion, and everything else we know so defectively. The given circumstances of the script and Petruchio are specific in choice, yet broad in interpretation. Petruchio, the catalyst behind Katherine’s character arc, needed to not only be believable in his ways, but likeable by the audience.
This thesis examines the process required to successfully develop and bring to life the character of Petruchio to our modern audience. It includes historical background information on William Shakespeare and the origins of the play itself, Sanford Meisner’s Techniques (moment-to-moment analysis & actioning) and Konstantin Stanislavski’s system are included with the scored actor’s script, journals recorded by the actor to verify his victories and defeats during the six-week production process and critiques to support the success of the production.