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Journal articles on the topic 'Stanislavski'

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Published: 4 June 2021

Last updated: 20 February 2023

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1

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

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As Alice Reyner's paper on Stanislavski and Bradley in NTQ 4 illustrated, Stanislavski remained very much a man of his own time, however enduring his approach to acting has proved. Here, Natalie Crohn Schmitt examines one of the concepts most crucial to ‘the system’ – a concept which is in its essentials, however, derived from nineteenth-century ideas, now being challenged, about the relationship between creativity and the unconscious. Pointing out that Stanislavski himself believed that his ‘system’ was simply the application of natural laws to acting technique, the author shows Stanislavski's indebtedness to the psychological theories of Théodule Armand Ribot, which interpreted all human behaviour in terms of ‘an aim towards fixed ends’. One of the reasons for the decline in influence of Stanislavski's system thus reflects, she argues, the growing belief that creativity is ‘process’, its ends ‘continually redefined by the actions, and vice-versa’ – and the author suggests examples of such a non-Stanislavskian approach among contemporary theatre companies. Natalie Crohn Schmitt is associate professor of theatre in the University of Illinois at Chicago. Her earlier essays have appeared in a wide range of journals, and she has just completed a full-length study, Actors on the Stage of Life. The present paper was written under a grant from the National Endowment for the Humanities.

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2

Mumford, Meg. "Brecht Studies Stanislavski: Just a Tactical Move?" New Theatre Quarterly 11, no. 43 (August 1995): 241–58. http://dx.doi.org/10.1017/s0266464x0000912x.

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In the 'fifties Brecht undertook an examination of Stanislavski's theatre which in terms of breadth and intensity was unprecedented in his career – and rehearsal documentation from that period testifies that he incorporated some of Stanislavski's methods into the stage practice of the Berliner Ensemble. The seriousness of his study is attested by the organized collection of notes on the production of Katzgraben recently discovered in Elizabeth Hauptmann's estate. Brecht's preoccupation with Stanislavski at this time has been seen as an attempt to protect his theatre's existence in an environment where Stanislavski, socialist realism, and the communist cause were regarded as interlinked. In this paper, Meg Mumford, recently appointed to a lectureship in theatre in the University of Glasgow, outlines the nature of Brecht's study of Stanislavski, and draws upon the records of the ensuing theatre practice, the Katzgraben notes in particular, to illuminate Brecht's growing recognition of affinities with Stanislavski's methods, which he found useful in fostering the young Berliner Ensemble and in creating performances he viewed as appropriate to audiences in the GDR.

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3

Marchenko, Herman. "Vsevolod Meyerhold’s Biomechanics and Boris Zakhava's Educational Work." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (December 10, 2020): 58–74. http://dx.doi.org/10.36340/2071-6818-2020-16-4-58-74.

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

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4

Santos, Alessandra Dutra dos. "Questão prática, resposta crítica: o metateatro de Sabina Berman." Aletria: Revista de Estudos de Literatura 7 (December 31, 2000): 137–46. http://dx.doi.org/10.17851/2317-2096.7..137-146.

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Resumo: Este artigo visa discutir os conflitos existentes entre teoria e prática teatral, utilizando como instrumentos dois monólogos da dramaturga mexicana Sabina Berman e o manual de preparação do ator de Stanislavski, buscando res gatar o diálogo existente entre os dois textos.Palavras-chave: teoria teatral; Sabina Berman; Stanislavski.Abstract: This article objectives to analyse the conflicts between theory and pratical theatre using two monologues of Mexican drama by Sabina Berman and the guide to ac tor preparation by Stanislavsky, trying to keep the existing dialogue in both.Keywords: theatrical theory; Sabina Bcrman; Stanislavski.

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5

Whyman, Rose. "The Actor's Second Nature: Stanislavski and William James." New Theatre Quarterly 23, no. 2 (May 2007): 115–23. http://dx.doi.org/10.1017/s0266464x07000024.

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This article considers the origins of Stanislavski's system and his insistence that the actor's skills, like the musician's, must be honed through daily exercises. Such practice must become the actor's ‘second nature’, as Stanislavski terms it. Rose Whyman here compares what Stanislavski has to say about skill acquisition with the psychologist William James's discussion of the role of habit in learning. This raises some problems in theorizing the system today, as it was rooted in the science of more than a century ago, when much less was known about the mechanisms of memory and learning. Rose Whyman worked previously in community and experimental theatre and is now a lecturer in Drama and Theatre Arts at the University of Birmingham. Her book The Stanislavski System of Acting: Legacy and Influence in Modern Performance is to be published by CUP later this year.

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6

Benedetti, Jean. "A History of Stanislavski in Translation." New Theatre Quarterly 6, no. 23 (August 1990): 266–78. http://dx.doi.org/10.1017/s0266464x00004577.

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Stanislavski has become a minor industry, both in theatre training and in publishing, with courses and related books endorsing, elaborating, or questioning his ‘System’. But how much of the System is really accessible to an English-speaking readership, and how full a view of Stanislavski's fully-formed ideas does it represent? Even the order and timing of the appearance of his works in English has, argues Jean Benedetti, determined our reception of his thought, and left us ignorant, sometimes wilfully, of the real development of his thinking: and in the following article, he traces the complicated and often fraught history of the translation of Stanislavski's works into English, revealing how (sometimes from the best of intentions) a slanted and incomplete view of the System still dominates our perceptions. Following a career in the theatre, film, and television. Jean Benedetti was Principal of the Rose Bruford College of Speech and Drama from 1970 to 1987, and since 1979 has been chairman of the Theatre Education Committee of the International Theatre Institute. In 1982 he published Stanislavski: an Introduction, and his biography of Stanislavski, the first in the West in forty years, was published in the autumn of 1988, and in paperback earlier this year. He is currently working on a documentary history of the Moscow Art Theatre.

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7

Leșe, Ana Cristina. "K. S. Stanislavski and the physical action." Timisoara Physical Education and Rehabilitation Journal 10, no. 19 (December 1, 2017): 67–72. http://dx.doi.org/10.1515/tperj-2017-0019.

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Abstract We note that the physical action in the K. Stanislavski's system expresses the same meaning as the motor action in the field of Physic Education, consisting in accomplishing a task with the help of the skeletal muscles, mainly, of the physical exercise. We sense here, the link between the Stanislavski's system and the Physical Education, link that is achieved, mainly through physical exercise. And this is how, to the question “What is the first thing in the actor's work of preparing for a role?”, K. Stanislavski is in his right to assert, after a long experience of artist-researcher, that “the most appropriate and efficient procedure for preparing a role is the approach to the role with the help of physical exercise”.

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8

Dacre, Kathy. "Teaching Stanislavski." Stanislavski Studies 2, no. 1 (November 2013): 287–95. http://dx.doi.org/10.1080/20567790.2013.11428602.

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9

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

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10

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

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

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11

Mann, Laurin. ""Stanislavski" in Toronto." Theatre Research in Canada 20, no. 2 (September 1999): 207–26. http://dx.doi.org/10.3138/tric.20.2.207.

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12

Carnicke, Sharon Marie, and Jean Benedetti. "Stanislavski: A Biography." Theatre Journal 42, no. 1 (March 1990): 134. http://dx.doi.org/10.2307/3207577.

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13

Poliakov, Stéphane. "Stanislavski and images." Stanislavski Studies 5, no. 1 (January 2, 2017): 111–21. http://dx.doi.org/10.1080/20567790.2017.1301732.

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14

Ruffini, Franco, and John Dean. "Konstantin Sergeyevich Stanislavski." Peripeti 1, no. 2 (December 2, 2021): 23–26. http://dx.doi.org/10.7146/peri.v1i2.107482.

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Why a Theatre Laboratory? It includes the programme of a three days’ international symposium from October 4th through 6th 2004. This is the first initiative taken by the Centre for Theatre Laboratory Studies (CTLS), a newly inaugurated centre under Aarhus University in cooperation with Nordisk Teaterlaboratorium. Peripeti include articles on Stanislavski, Meyerhold, Copeau, Decroux, Grotowski, Peter Brook, Théâtre du Soleil, and Odin Teatret and the theatre laboratory praxis of these masters and inventors, including, of course, reflections on their function and effect. In the last article, Eugenio Barba reflects on the creative process of Odin Teatret over the last 40 years. In addition, we also include the curriculum vitae on those participating in the symposium. The occasion of the symposium is to celebrate the 40th anniversary in October 2004 of Nordisk Teaterlaboratorium/Odin Teatret. Congratulations.

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15

Ruffini, Franco. "De Volta à Sala Fechada: o meu diálogo com Jerzy Grotowski." Revista Brasileira de Estudos da Presença 1, no. 1 (June 2011): 235–59. http://dx.doi.org/10.1590/2237-266020958.

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RESUMO A partir da leitura de cartas e textos de Jerzy Grotowski, Eugenio Barba e Constantin Stanislavski, este texto discute as diferentes compreensões do autor acerca da obra de Grotowski. Ao comparar diferentes passagens de escritos de Grotowski e Stanislavski, este texto elucida e problematiza, do ponto de vista histórico, alguns elementos na genealogia da obra desses autores, incluindo a filiação de Grotowski em relação a Stanislavski. Por fim, apresenta-se o trabalho do ator no panorama de conceitos como memória e corpo-energia, próprios da herança desses diretores-pedagogos.

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16

Costa, Iná Camargo. "Stanislavski na cena americana." Estudos Avançados 16, no. 46 (December 2002): 105–12. http://dx.doi.org/10.1590/s0103-40142002000300008.

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17

Lesourd, Françoise. "Le Théâtre de Stanislavski." Coulisses, no. 4 (June 1, 1991): 41–51. http://dx.doi.org/10.4000/coulisses.1689.

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18

Desloovere, Martin. ""De stoel van Stanislavski"." Documenta 5, no. 4 (April 29, 2019): 265–69. http://dx.doi.org/10.21825/doc.v5i4.10953.

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19

Klinger, William J. "Stanislavski and computer science." ACM SIGCSE Bulletin 37, no. 4 (December 2005): 111–14. http://dx.doi.org/10.1145/1113847.1113889.

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20

Kolankiewicz, Jerzi. "Grotowski face à Stanislavski." Études littéraires 20, no. 3 (April 12, 2005): 139–44. http://dx.doi.org/10.7202/500820ar.

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21

Caffarel Rodríguez, Bárbara, and Ana María Zaharía. "Del teatro al cine: análisis de la creación de los personajes de la obra Tío Vanía y su traslación al cine en Vania en la calle 42." Comunicación y Hombre, no. 18 (February 4, 2022): 109–21. http://dx.doi.org/10.32466/eufv-cyh.2022.18.719.109-121.

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Vania en la calle 42 (Malle, 1994) es la adaptación de la obra de Tío Vania (1899) de Antón Chéjov representada como si se tratara de un ensayo teatral. Su arranque en forma de documental en seguida se transforma en ficción, lo que nos permitirá determinar nuestro objetivo que es analizar el método con el que trabajan los actores, buscando analogías y características propias del sistema Stanislavski, pero enmarca-das en el medio cinematográfico. Para alcanzar nuestro propósito estudiaremos la narrativa seguida por Malle para crear esta adaptación de la obra de Chéjov, así como la construcción de personajes bajo el sistema Stanislavski. La investigación se realizará a partir del uso de la película como fuente principal, seguido por fuentes bibliográficas elaboradas por Stanislavski, así como otros documentos científicos. A través del análisis realizado se puede constatar el trabajo de los intérpretes siguiendo el sistema Stanislavski y su adaptación al trabajo ante la cámara.

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22

Caffarel Rodríguez, Bárbara, and Ana María Zaharía. "Del teatro al cine: análisis de la creación de los personajes de la obra Tío Vanía y su traslación al cine en Vania en la calle 42." Comunicación y Hombre, no. 18 (February 4, 2022): 109–21. http://dx.doi.org/10.32466/eufv-cyh.2022.18.719.109-121.

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Vania en la calle 42 (Malle, 1994) es la adaptación de la obra de Tío Vania (1899) de Antón Chéjov representada como si se tratara de un ensayo teatral. Su arranque en forma de documental en seguida se transforma en ficción, lo que nos permitirá determinar nuestro objetivo que es analizar el método con el que trabajan los actores, buscando analogías y características propias del sistema Stanislavski, pero enmarca-das en el medio cinematográfico. Para alcanzar nuestro propósito estudiaremos la narrativa seguida por Malle para crear esta adaptación de la obra de Chéjov, así como la construcción de personajes bajo el sistema Stanislavski. La investigación se realizará a partir del uso de la película como fuente principal, seguido por fuentes bibliográficas elaboradas por Stanislavski, así como otros documentos científicos. A través del análisis realizado se puede constatar el trabajo de los intérpretes siguiendo el sistema Stanislavski y su adaptación al trabajo ante la cámara.

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23

Cooper, Tom. "Acting Stanislavski: A Practical Guide to Stanislavski’s Approach and Legacy by John Gillett." Journal of Dramatic Theory and Criticism 31, no. 1 (2016): 161–62. http://dx.doi.org/10.1353/dtc.2016.0028.

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24

de Guevara, Victor Ladron. "Acting Stanislavski: A Practical Guide to Stanislavski's Approach and Legacy. By John Gillett." Stanislavski Studies 3, no. 1 (January 2015): 87–89. http://dx.doi.org/10.1080/20567790.2015.11428614.

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25

Whyman, Rose. "A Segunda Natureza do Ator - Stanislavski e William James." Revista Brasileira de Estudos da Presença 4, no. 2 (August 2014): 295–312. http://dx.doi.org/10.1590/2237-266043410.

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RESUMO Este artigo considera as origens do sistema de Stanislavski e a sua insistência na ideia de que as habilidades do ator, assim como as do músico, devam ser afinadas por intermédio de exercícios diários. Tal prática precisa se tornar a segunda natureza do ator nos termos de Stanislavski. Compara-se aqui o que Stanislavski tem a dizer sobre a aquisição dessas habilidades com a discussão sobre o papel do hábito na aprendizagem do psicólogo William James. Isso levanta alguns problemas na teorização do sistema hoje, uma vez que o mesmo está radicado na ciência de mais de um século atrás, quando muito menos se sabia sobre os mecanismos da memória e da aprendizagem.

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26

Bilgrave, Dyer P., and Robert H. Deluty. "STANISLAVSKI'S ACTING METHOD AND CONTROL THEORY: COMMONALITIES ACROSS TIME, PLACE, AND FIELD." Social Behavior and Personality: an international journal 32, no. 4 (January 1, 2004): 329–40. http://dx.doi.org/10.2224/sbp.2004.32.4.329.

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Constantin Stanislavski revolutionized 20th century theater by developing a highly articulated and practical system of acting, now referred to simply as “the method.” Stanislavski's method presents a model of human behavior and motivation that is strikingly similar to the “control theory” of psychologists Charles Carver and Michael Scheier. These similarities are in the areas of (a) the regulation of behavior by goals, (b) the process of goal formation, (c) the hierarchical organization of behavior, (d) the disruption of goals by obstacles, (e) outcome expectancies, (f) the sequencing of behavior into units, and (g) the formation of identity. These commonalities provide something akin to “construct validity” for the basic assertions of each model.

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27

Bident, Christophe. "A experiência interior como experiência de ator." Alea : Estudos Neolatinos 15, no. 2 (December 2013): 358–72. http://dx.doi.org/10.1590/s1517-106x2013000200007.

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Trata-se de voltar, com Georges Bataille, a um dos dramas mais excessivos e mais impossíveis de representar de A formação do ator, de Stanislavski: a cena chamada de "o dinheiro queimado". Se Tortsov, o mestre desse ensaio teatral que assume a forma de uma narrativa de formação, não cessa de fazer seus jovens atores repetirem essa cena, ao ponto de ela tornar-se um dos leitmotiven maiores do livro, é porque Stanislavski vê nela um limite para o mimodrama e o melodrama cujo domínio é necessário à atuação moderna do ator. Essa cena age como um episódio crítico do acontecimento da "encenação". Pode-se lê-la como uma "experiência interior", o que permite precisar a um só tempo a filosofia singular de Stanislavski e o "método de dramatização" de Bataille.

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28

Musilová, Martina. "“Я есмь“ – Stanislavski and Solovyov." Stanislavski Studies 8, no. 1 (December 13, 2019): 51–57. http://dx.doi.org/10.1080/20567790.2019.1700733.

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29

Phillips, Tom. "A Teacher Trainer Reads Stanislavski." Journal of Further and Higher Education 19, no. 3 (September 1995): 94–108. http://dx.doi.org/10.1080/0309877950190309.

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30

De Gusmão, Henrique Buarque. "“O trabalho do ator sobre si mesmo” proposto por Constantin Stanislavski a partir do modelo narrativo do romance russo." Revista Territórios e Fronteiras 8, no. 2 (December 16, 2015): 291. http://dx.doi.org/10.22228/rt-f.v8i2.411.

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Neste artigo, proponho que diferentes mecanismos narrativos de construção do personagem operacionalizados nos romances russos – com destaque para aqueles escritos por Liev Tolstoi – funcionam como matrizes do trabalho de ator proposto por Constantin Stanislavski. Assim, é discutido o papel que o romance teve nas reformulações da atuação cênica levadas adiante pelo diretor russo e propõe-se o caráter narrativo da noção de “trabalho de ator sobre si mesmo”, noção esta tão determinante nos textos de Stanislavski.Palavras-chave: Constantin Stanislavski; Liev Tolstoi; personagem.

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31

Pagani, Maria Pia, and Мария Пиа Пагани. "Stanislavski and the Knight of Ripafratta." Stanislavski Studies 2, no. 1 (November 2013): 268–86. http://dx.doi.org/10.1080/20567790.2013.11428601.

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32

Dunne, Joseph. "Stanislavski on Stage: The Benedetti Legacy." Stanislavski Studies 3, no. 2 (July 3, 2015): 171–201. http://dx.doi.org/10.1080/20567790.2015.1079046.

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33

Hollands, Lavinia. "The Stanislavski system: ubiquitous yet fragmented." Stanislavski Studies 5, no. 1 (January 2, 2017): 55–59. http://dx.doi.org/10.1080/20567790.2017.1295523.

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34

Carvalho, Sergio. "Stanislavski e a formação do ator." Sala Preta 19, no. 1 (August 30, 2019): 260–75. http://dx.doi.org/10.11606/issn.2238-3867.v19i1p260-275.

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O artigo examina os sentidos da ideia de formação no conjunto da prática pedagógica do diretor russo Constantin Stanislavski como uma procura de ativação de dinâmicas relacionais capazes de se contraporem à lógica do efeito estético e mercantil. A postura implica reflexões de sentido ético e mesmo político apenas lateralmente nomeadas em sua obra.

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35

Copeliovitch, Andrea. "O trabalho do ator sobre si mesmo: memória, ação, linguagem e silêncio." Conceição/Conception 5, no. 2 (December 22, 2016): 76. http://dx.doi.org/10.20396/conce.v5i2.8648046.

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O estudo da trajetória de Stanislavski e de suas experiências sugere uma reflexão sobre o que é e como é realizar pesquisa em teatro. Para Stanislavski essa pesquisa se dá no “si mesmo” do ator”. Pesquisar o si mesmo é pesquisar a vida inteira; no caso do teatro, é fazer a vida acontecer na cena. O acontecimento da vida no palco é o acontecimento desse si mesmo com todas as suas complexidades; é tornar-se linguagem própria à cena. O "si mesmo", em constante transformação na impermanência do tempo, constitui seu repertório de vivências e revivescências e nos traz questões fundamentais como memória, ação, linguagem e silêncio.

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36

Romano, Lucia Regina Vieira. "As novas situações propostas de Pais e filhos em São Paulo: a tradução da poética originária de Stanislavski no contexto nacional." Sala Preta 16, no. 1 (July 1, 2016): 148. http://dx.doi.org/10.11606/issn.2238-3867.v16i1p148-160.

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Para pensarmos a herança de Stanislavski e sua poética atoral no contexto nacional, proponho um diálogo com a experiência da montagem de Pais e filhos, dirigida pelo encenador Adolf Shapiro, em São Paulo. Inspirada pelo encontro criativo entre a mundana companhia e Shapiro (e por meio dele, com a tradição teatral desenhada por Stanislavski), pretendo – emprestando termos da abordagem antropológica – relacionar a experiência dos atores e atrizes brasileiros no trabalho com o sistema a um processo de interculturação de tradições e técnicas, com a finalidade de refletir sobre as implicações dos horizontes geográficos e das demarcações histórico-temporais na transformação de matrizes atorais originárias.

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37

Jiménez Draguicevic, Pamela Soledad. "Los signos del método de las acciones físicas de Stanislavski en el ámbito escénico contemporáneo." RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas 8, no. 16 (July 1, 2019): 1–27. http://dx.doi.org/10.23913/ricsh.v8i16.173.

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Este artículo se ha enfocado en esclarecer los conceptos de sistema, método y técnica gestados en torno a Konstantín Stanislavski y cómo los fue utilizando a lo largo de su trayectoria. A su vez, ha destacado la vigencia de uno de estos métodos en el ámbito escénico actual y los signos que se develan en este. A pesar de que Stanislavski expuso con cierta claridad su continua investigación y que sus compiladores cercanos no mostraron divergencias entre ellos, al transcribir su terminología y sus procedimientos, se ha presentado una inconsistencia terminológica por parte de sus compiladores indirectos. Se partió de un marco teórico preciso que logró aclarar qué es sistema, método y técnica enfocados al área teatral, con la finalidad de formular conceptos definidos. Y se aplicó un método explicativo-descriptivo para exponer el cambio del método de la memoria de las emociones al método de las acciones físicas, ambos de Stanislavski, sin perder un sistema como marco unificador, y también para detallar los signos característicos que han identificado al segundo método; todo ello mediante el análisis de materiales documentales relevantes. El método de las acciones físicas del sistema de Stanislavski es actual, vigente y necesario, puesto que lleva al actor a poner atención en las acciones físicas y en la fuerza interior que las provoca; a definir lo que haría el actor en la vida real si se encontrara en esa situación y en la condición del personaje interpretado, y a construir no solo un método psicotécnico de crear la vida del personaje, sino un método completo que entiende, reflexiona, analiza y responde a los diferentes ámbitos de la creación de un personaje a través de signos precisos y claros.

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38

Holland, Peter. "The Director and the Playwright: Control over the Means of Production." New Theatre Quarterly 3, no. 11 (August 1987): 207–17. http://dx.doi.org/10.1017/s0266464x00015189.

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In this wide-ranging article. Peter Holland explores the relationship between the director and the playwright from contrasting historical and artistic perspectives. A typical film-contract, as recently signed by Trevor Griffiths with Warner Brothers, is thus made to shed retrospective light on the less overtly proprietorial assumptions which governed Stanislavski's approach to the plays of Chekhov – and which, in effect, sanitized them of their political insights into pre-revolutionary Russian society, creating instead bourgeois tragedies about flawed individuals. Acknowledging the difficulties of creating a framework within which the role of the playwright could be introduced more authoritatively into the theatrical structure, the author nonetheless stresses the importance of recognizing the nature of the hierarchy, which gives pre-eminence to the directorial ‘reading’. Peter Holland, University Lecturer in Drama in the University of Cambridge, is currently writing (in collaboration with Vera Gottlieb) a study of Stanislavski for Cambridge University Press, and is preparing the Oxford Shakespeare edition of A Midsummer Night's Dream.

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39

Hughes, R. I. G. "Tolstoy, Stanislavski, and the Art of Acting." Journal of Aesthetics and Art Criticism 51, no. 1 (1993): 39. http://dx.doi.org/10.2307/431969.

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Hetzler, Eric. "In plain sight: hidden Stanislavski - part one." Stanislavski Studies 10, no. 1 (January 2, 2022): 21–31. http://dx.doi.org/10.1080/20567790.2022.2035908.

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Autant-Mathieu, Marie-Christine. "L'inconscient créateur dans le Système de Stanislavski." Revue Russe 29, no. 1 (2007): 9–30. http://dx.doi.org/10.3406/russe.2007.2301.

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Poliakov, Stéphane. "Processus, vie, action. Stanislavski réaliste ou spiritualiste." Revue Russe 29, no. 1 (2007): 31–48. http://dx.doi.org/10.3406/russe.2007.2302.

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HUGHES, R. I. G. "Tolstoy, Stanislavski, and The Art of Acting." Journal of Aesthetics and Art Criticism 51, no. 1 (December 1, 1993): 39–48. http://dx.doi.org/10.1111/1540_6245.jaac51.1.0039.

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Bush, Steven, and Буш Стивен. "George Luscombe and Stanislavski Training in Toronto." Stanislavski Studies 2, no. 2 (May 2014): 79–108. http://dx.doi.org/10.1080/20567790.2014.11419725.

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Arp-Dunham, Joelle Ré. "The cognitive Stanislavski in the rehearsal hall." Stanislavski Studies 5, no. 1 (January 2, 2017): 67–74. http://dx.doi.org/10.1080/20567790.2017.1296992.

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46

Jones, Julian. "Stanislavski and The Theatre of The Absurd." Stanislavski Studies 8, no. 2 (July 2, 2020): 247–64. http://dx.doi.org/10.1080/20567790.2020.1814554.

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47

McLean, Tom. "A minister prepares: liturgical performance and Stanislavski’s method of acting." Theology 124, no. 2 (March 2021): 93–100. http://dx.doi.org/10.1177/0040571x21991745.

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Tortajada, Maria. "Intériorité/plasticité. La théorie de la mise en scène de S. M. Eisenstein." L’acteur 11, no. 2-3 (October 31, 2007): 225–52. http://dx.doi.org/10.7202/024854ar.

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RÉSUMÉ Se référant à Freud, Eisenstein réfléchit, dans les années trente, à l'idée d' « acte manqué » dans le jeu de l'acteur et l'associe à ce que Stanislavski appelle le « sous-texte ». Dans « Mise en jeu et mise en geste », il s'y réfère pour construire un principe de jeu à travers l'étude détaillée d'une scène de L'Idiot de Dostoïevski. Cette question concerne le passage de l'intériorité de l'acteur-personnage à sa mise en geste dans l'espace. Ni soumis à la rationalité de l'intention de Meyerhold en 1936 (voir par exemple « Chaplin et le chaplinisme »), ni rivé à la quête des « souvenirs affectifs » de Stanislavski, Eisenstein conçoit sa propre théorie de la mise en scène en accordant à l'intériorité, à ce qu'il appelle « interne », un sort très particulier.

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Viana, Fausto. "O Teatro de Arte de Moscou e seus arquivos." Revista Aspas 9, no. 1 (August 29, 2019): 43–62. http://dx.doi.org/10.11606/issn.2238-3999.v9i1p43-62.

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O Teatro de Arte de Moscou (TAM) foi fundado em 1898 por Konstantin Aleksiêiev (cujo nome artístico era Stanislavski) (1863-1938) e por Vladimir Niemiróvitch-Dântchenko (1858- 1943). Toda sua documentação, produzida ao longo de 121 anos de atividade, é rica fonte de informações para o pesquisador que pretende se aprofundar nas inúmeras possibilidades investigativas que uma companhia de teatro oferece, desde as técnicas de interpretação e direção até a documentação de administração e a correspondência pessoal entre os membros da companhia. Neste artigo, desejo abordar o que o TAM ofereceu à minha pesquisa sobre trajes de cena nas encenações de Stanislavski, sob as diferentes perspectivas documentais apresentadas por Johanna W. Smit e Viviane Tessitore para arquivos, bibliotecas e museus.

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McConachie, Bruce. "Method Acting and the Cold War." Theatre Survey 41, no. 1 (May 2000): 47–68. http://dx.doi.org/10.1017/s0040557400004385.

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Triumphalist accounts of the spread of “the Method” in post-World War II America generally explain its success as the victory of natural truths over benighted illusions about acting. In Method Actors: Three Generations of An American Acting Style, for instance, Steve Vineberg follows his summary of the primary attributes of “method” acting with the comment: “These concerns weren't invented by Stanislavski or his American successors; they emerged naturally out of the two thousand-year history of Western acting.” Hence, the final triumph of “the Method” was natural, even inevitable. Vineberg's statement, however, raises more questions than it answers. Why did it take two thousand years for actors and theorists of acting to get it right? Or, to localize the explanation to the United States, why did more American actors, directors, and playwrights not jump on the Stanislavski bandwagon and reform the American theatre after the appearance of the Moscow Art Theatre in New York in 1923 and the subsequent lectures and classes from Boleslavski and others? The Group Theatre demonstrated the power of Stanislavski-derived acting techniques in the 1930s, but their substantial successes barely dented the conventional wisdom about acting theory and technique in the professional theatre. Yet, in the late 1940s and early fifties, “method” acting, substantially unchanged from its years in the American Laboratory and Group theatres, took Broadway and Hollywood by storm.

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