520:
875:
270:
2106:: "Mr. Strasberg adapted it to the American theatre, imposing his refinements, but always crediting Stanislavsky as his source" (Quoted by Carnicke 1998, 9). Carnicke argues that this "robs Strasberg of the originality in his thinking, while simultaneously obscuring Stanislavsky's ideas" (1997, 9). Neither the tradition that formed in the USSR nor the American Method, Carnicke argues, "integrated the mind and body of the actor, the corporal and the spiritual, the text and the performance as thoroughly or as insistently as did Stanislavsky himself" (1998, 2). For evidence of Strasberg's misunderstanding of this aspect of Stanislavski's work, see Strasberg (2010, 150–151).
635:
484:
support the emergence of an "unbroken line" of experiencing through a performance, which constitutes the inner life of the role. An "unbroken line" describes the actor's ability to focus attention exclusively on the fictional world of the drama throughout a performance, rather than becoming distracted by the scrutiny of the audience, the presence of a camera crew, or concerns relating to the actor's experience in the real world offstage or outside the world of the drama. In a rehearsal process, at first, the "line" of experiencing will be patchy and broken; as preparation and rehearsals develop, it becomes increasingly sustained and unbroken.
22:
436:. How does she do gymnastics or sing little songs? Do your hair in various ways and try to find in yourself things which remind you of Charlotta. You will be reduced to despair twenty times in your search but don't give up. Make this German woman you love so much speak Russian and observe how she pronounces words and what are the special characteristics of her speech. Remember to play Charlotta in a dramatic moment of her life. Try to make her weep sincerely over her life. Through such an image you will discover all the whole range of notes you need.
1375:. The playwright in the novel sees the acting exercises taking over the rehearsals, becoming madcap, and causing the playwright to rewrite parts of his play. The playwright is concerned that his script is being lost in all of this. When he finally sees the play performed, the playwright reflects that the director's theories would ultimately lead the audience to become so absorbed in the reality of the performances that they forget the play. Bulgakov had the actual experience, in 1926, of having a play that he had written,
1021:
194:
768:
1328:
717:, had provided the forum in which he developed his initial ideas for his system during the 1910s, he hoped to secure his final legacy by opening another studio in 1935, in which the Method of Physical Action would be taught. The Opera-Dramatic Studio embodied the most complete implementation of the training exercises described in his manuals. Meanwhile, the transmission of his earlier work via the students of the First Studio was revolutionising acting in the
364:" practised by Cocquelin (in which experiencing forms one of the preparatory stages only) and "hack" acting (in which experiencing plays no part). Stanislavski defines the actor's "experiencing" as playing "credibly", by which he means "thinking, wanting, striving, behaving truthfully, in logical sequence in a human way, within the character, and in complete parallel to it", such that the actor begins to feel "as one with" the role.
368:
1143:, Stanislavski worked with Adler, who had sought his assistance with the blocks she had confronted in her performances. Given the emphasis that emotion memory had received in New York, Adler was surprised to find that Stanislavski rejected the technique except as a last resort. He recommended an indirect pathway to emotional expression via physical action. Stanislavski confirmed this emphasis in his discussions with
975:
Method of
Physical Action. The teachers had some previous experience studying the system as private students of Stanislavski's sister, Zinaïda. His wife, Lilina, also joined the teaching staff. Twenty students (out of 3500 who had auditioned) were accepted for the dramatic section of the Opera—Dramatic Studio, where classes began on 15 November 1935. Its members included the future artistic director of the MAT,
480:". "It is easy," Carnicke warns, "to misunderstand this notion as a directive to play oneself." A human being's circumstances condition his or her character, this approach assumes. "Placing oneself in the role does not mean transferring one's own circumstances to the play, but rather incorporating into oneself circumstances other than one's own."
899:, though it later severed its connection with the theatre. Stanislavski worked with his Opera Studio in the two rehearsal rooms of his house on Carriage Row (prior to his eviction in March 1921). His brother and sister, Vladimir and Zinaïda, ran the studio and also taught there. It accepted young members of the Bolshoi and students from the
1253:. Strasberg, for example, dismissed the "Method of Physical Action" as a step backwards. Just as an emphasis on action had characterised Stanislavski's First Studio training, so emotion memory continued to be an element of his system at the end of his life, when he recommended to his directing students:
758:
in 1913, Stanislavski concluded that "a character is sometimes formed psychologically, i.e. from the inner image of the role, but at other times it is discovered through purely external exploration." In fact
Stanislavski found that many of his students who were "method acting" were having many mental
440:
Exercises such as these, though never seen directly onstage or screen, prepare the actor for a performance based on experiencing the role. Experiencing constitutes the inner, psychological aspect of a role, which is endowed with the actor's individual feelings and own personality. Stanislavski argues
98:
Thanks to its promotion and development by acting teachers who were former students and the many translations of
Stanislavski's theoretical writings, his system acquired an unprecedented ability to cross cultural boundaries and developed a reach, dominating debates about acting in the West. According
608:
The pursuit of one task after another forms a through-line of action, which unites the discrete bits into an unbroken continuum of experience. This through-line drives towards a task operating at the scale of the drama as a whole and is called, for that reason, a "supertask" (or "superobjective"). A
604:
play in private. The cast began with a discussion of what
Stanislavski would come to call the "through-line" for the characters (their emotional development and the way they change over the course of the play). This production is the earliest recorded instance of his practice of analysing the action
412:
The range of training exercises and rehearsal practices that are designed to encourage and support "experiencing the role" resulted from many years of sustained inquiry and experiment. Many may be discerned as early as 1905 in
Stanislavski's letter of advice to Vera Kotlyarevskaya on how to approach
322:
A rediscovery of the 'system' must begin with the realization that it is the questions which are important, the logic of their sequence and the consequent logic of the answers. A ritualistic repetition of the exercises contained in the published books, a solemn analysis of a text into bits and tasks
2477:
In his biography of
Stanislavski, Jean Benedetti writes: "It has been suggested that Stanislavski deliberately played down the emotional aspects of acting because the woman in front of him was already over-emotional. The evidence is against this. What Stanislavski told Stella Adler was exactly what
865:
had nicknamed "Suler", was selected to lead the studio. In a focused, intense atmosphere, its work emphasised experimentation, improvisation, and self-discovery. Until his death in 1938, Suler taught the elements of
Stanislavski's system in its germinal form: relaxation, concentration of attention,
708:
For in the process of action the actor gradually obtains the mastery over the inner incentives of the actions of the character he is representing, evoking in himself the emotions and thoughts which resulted in those actions. In such a case, an actor not only understands his part, but also feels it,
569:
In preparing and rehearsing for a role, actors break up their parts into a series of discrete "bits", each of which is distinguished by the dramatic event of a "reversal point", when a major revelation, decision, or realisation alters the direction of the action in a significant way. (Each "bit" or
475:
Stanislavski's "Magic If" describes an ability to imagine oneself in a set of fictional circumstances and to envision the consequences of finding oneself facing that situation in terms of action. These circumstances are "given" to the actor principally by the playwright or screenwriter, though they
577:
One of the most important creative principles is that an actor's tasks must always be able to coax his feelings, will and intelligence, so that they become part of him, since only they have creative power. The task must provide the means to arouse creative enthusiasm. Like a magnet, it must have
974:
Stanislavski decided that he needed to found a new studio if he was to ensure his legacy. "Our school will produce not just individuals," he wrote, "but a whole company." In June he began to instruct a group of teachers in the training techniques of the 'system' and the rehearsal processes of the
652:
Stanislavski further elaborated his system with a more physically grounded rehearsal process that came to be known after his death as the "Method of
Physical Action". Stanislavski had developed it since 1916, he first explored it practically in the early 1930s. The roots of the Method of Physical
427:
First of all you must live the role without spoiling the words or making them commonplace. Shut yourself off and play whatever goes through your head. Imagine the following scene: Pishchik has proposed to
Charlotta, now she is his bride... How will she behave? Or: Charlotta has been dismissed but
1011:
for their work on roles. He "insisted that they work on classics, because, 'in any work of genius you find an ideal logic and progression.'" He worked with the students in March and April 1937, focusing on their sequences of physical actions, on establishing their through-lines of action, and on
1226:
The relations between these strands and their acolytes, Carnicke argues, have been characterised by a "seemingly endless hostility among warring camps, each proclaiming themselves his only true disciples, like religious fanatics, turning dynamic ideas into rigid dogma." Stanislavski's Method of
1222:
Though many others have contributed to the development of method acting, Strasberg, Adler, and
Meisner are associated with "having set the standard of its success", though each emphasised different aspects: Strasberg developed the psychological aspects, Adler, the sociological, and Meisner, the
123:
The script meant less than nothing. Sometimes the cast did not even bother to learn their lines. Leading actors would simply plant themselves downstage centre, by the prompter's box, wait to be fed the lines then deliver them straight at the audience in a ringing voice, giving a fine display of
483:
In preparation and rehearsal, the actor develops imaginary stimuli, which often consist of sensory details of the circumstances, in order to provoke an organic, subconscious response in performance. These "inner objects of attention" (often abbreviated to "inner objects" or "contacts") help to
86:
Later, Stanislavski further elaborated what he called 'the System' with a more physically grounded rehearsal process that came to be known as the "Method of Physical Action". Minimising at-the-table discussions, he now encouraged an "active representative", in which the sequence of dramatic
185:
Throughout his career, Stanislavski subjected his acting and direction to a rigorous process of artistic self-analysis and reflection. His system of acting developed out of his persistent efforts to remove the blocks that he encountered in his performances, beginning with a
582:
The task sparks off wishes and inner impulses (spurs) toward creative effort. The task creates the inner sources which are transformed naturally and logically into action. The task is the heart of the bit, that makes the pulse of the living organism, the role,
990:
Jean Benedetti argues that the course at the Opera—Dramatic Studio is "Stanislavski's true testament." Stanislavski arranged a curriculum of four years of study that focused exclusively on technique and method—two years of the work detailed later in
119:(MAT) and began his professional career. The two of them were resolved to institute a revolution in the staging practices of the time. Benedetti offers a vivid portrait of the poor quality of mainstream theatrical practice in Russia before the MAT:
1772:
as being capable of the creation of genuine works of art, he rejects its technique as "either too showy or too superficial" to be capable of the "expression of deep passions" and the "subtlety and depth of human feelings"; see Stanislavski (1938,
1583:) survived into Stanislavski's system, while the exclusively external technique did not; although his work shifted from a director-centred to an actor-centred approach, his system nonetheless valorises the absolute authority of the director.
930:, with its inescapable conventionality, would demonstrate the universality of his methodology. From his experience at the Opera Studio he developed his notion of "tempo-rhythm", which he was to develop most substantially in part two of
570:"beat" corresponds to the length of a single motivation . The term "bit" is often mistranslated in the US as "beat", as a result of its pronunciation in a heavy Russian accent by Stanislavski's students who taught his system there.)
784:
I may add that it is my firm conviction that it is impossible today for anyone to become an actor worthy of the time in which he is living, an actor on whom such great demands are made, without going through a course of study in a
1919:
Benedetti (1999a, 202). Benedetti argues that Stanislavski "never succeeded satisfactorily in defining the extent to which an actor identifies with his character and how much of the mind remains detached and maintains theatrical
1554:
Benedetti (1989, 18, 22—23), (1999a, 42), and (1999b, 257), Carnicke (2000, 29), Gordon (2006, 40—42), Leach (2004, 14), and Magarshack (1950, 73—74). As Carnicke emphasises, Stanislavski's early prompt-books, such as that for
866:
imagination, communication, and emotion memory. On becoming independent from the MAT in 1923, the company re-named itself the Second Moscow Art Theatre, though Stanislavski came to regard it as a betrayal of his principles.
1609:
Bablet (1962, 134), Benedetti (1989, 23—26) and (1999a, 130), and Gordon (2006, 37—42). Carnicke emphasises the fact that Stanislavski's great productions of Chekhov's plays were staged without the use of his system (2000,
495:." Stanislavski used the term "I am being" to describe it. He encouraged this absorption through the cultivation of "public solitude" and its "circles of attention" in training and rehearsal, which he developed from the
1997:
Benedetti (1998, 104) and (1999a, 356, 358). Gordon argues the shift in working-method happened during the 1920s (2006, 49—55). Vasili Toporkov, an actor who trained under Stanislavski in this approach, provides in his
1619:
Benedetti (1989, 25—39) and (1999a, part two), Braun (1982, 62—63), Carnicke (1998, 29) and (2000, 21—22, 29—30, 33), and Gordon (2006, 41—45). For an explanation of "inner action", see Stanislavski (1957, 136); for
1147:
in late 1935. The news that this was Stanislavski's approach would have significant repercussions in the US; Strasberg angrily rejected it and refused to modify his approach. Adler's most famous student was actor
1959:
Carnicke (2000, 30—31), Gordon (2006, 45—48), Leach (2004, 16—17), Magarshack (1950, 304—306), and Worrall (1996, 181—182). In his notes on the production's rehearsals, Stanislavski wrote that: "There will be no
1767:
for a fuller discussion of the different uses of these terms. In addition, for Stanislavski's conception of "experiencing the role" see Carnicke (1998), especially chapter five. While Stanislavski recognises the
672:
Benedetti emphasises the continuity of the Method of Physical Action with Stanislavski's earlier approaches; Whyman argues that "there is no justification in Stanislavsky's writings for the assertion that the
146:
in detail in advance. He also introduced into the production process a period of discussion and detailed analysis of the play by the cast. Despite the success that this approach brought, particularly with his
2230:. Nemirovich had created the Moscow Art Theatre Music Studio in 1919, though Stanislavski had no connection to it; see Benedetti (1999, 211; 255), Leach (2004, 20), and Stanislavski and Rumyantsev (1975, x).
894:
Benedetti argues that a significant influence on the development of Stanislavski's system came from his experience teaching and directing at his Opera Studio. He created it in 1918 under the auspices of the
2056:
Benedetti (1998, xii) and (1999a, 359—363) and Magarshack (1950, 387—391), and Whyman (2008, 136). Benedetti argues that the course at the Opera-Dramatic Studio is "Stanislavski's true testament". His book
356:
over the role emotion ought to play—whether it should be experienced only in rehearsals when preparing the role (Cocquelin's position) or whether it ought to be felt in performance (Salvini's position).
348:
Not all emotional experiences are appropriate, therefore, since the actor's feelings must be relevant and parallel to the character's experience. Stanislavski identified Salvini, whose performance of
83:
behaviour—sympathetically and indirectly. In rehearsal, the actor searches for inner motives to justify action and the definition of what the character seeks to achieve at any given moment (a "task").
409:
of their effects. Stanislavski recognised that in practice a performance is usually a mixture of the three trends (experiencing, representation, hack) but felt that experiencing should predominate.
323:
will not ensure artistic success, let alone creative vitality. It is the Why? and What for? that matter and the acknowledgement that with every new play and every new role the process begins again.
1223:
behavioral. While each strand of the American tradition vigorously sought to distinguish itself from the others, they all share a basic set of assumptions that allows them to be grouped together.
558:
An actor's performance is animated by the pursuit of a sequence of "tasks" (identified in Elizabeth Hapgood's original English translation as "objectives"). A task is a problem, embedded in the "
266:—resented Stanislavski's use of it as a laboratory in which to conduct his experiments. At Stanislavski's insistence, the MAT went on to adopt his system as its official rehearsal method in 1911.
124:
passion and "temperament." Everyone, in fact, spoke their lines out front. Direct communication with the other actors was minimal. Furniture was so arranged as to allow the actors to face front.
612:
In his later work, Stanislavski focused more intently on the underlying patterns of dramatic conflict. He developed a rehearsal technique that he called "active analysis" in which actors would
744:
approach of the "system", which explores character and action both from the 'inside out' and the 'outside in' and treats the actor's mind and body as parts of a continuum. In response to his
441:
that this creation of an inner life should be the actor's first concern. He groups together the training exercises intended to support the emergence of experiencing under the general term "
2222:
The studio underwent a series of name-changes as it developed into a full-scale company: in 1924 it was renamed the "Stanislavski Opera Studio"; in 1926 it became the "Stanislavski Opera
1227:
Physical Action formed the central part of Sonia Moore's attempts to revise the general impression of Stanislavski's system arising from the American Laboratory Theatre and its teachers.
2227:
476:
also include choices made by the director, designers, and other actors. The ensemble of these circumstances that the actor is required to incorporate into a performance are called the "
99:
to one writer on twentieth-century theatre in London and New York, Stanislavski’s ideas have become accepted as common sense so that actors may use them without knowing that they do.
2278:
Leach (2004, 51–52) and Benedetti (1999, 256, 259); see Stanislavski (1950). Konkordia Antarova made the notes on Stanislavski's teaching, which his sister Zinaïda located in 1938.
462:, all the rest is mine, my own concerns, as a role in all its creative moments depends on a living person, i.e., the actor, and not the dead abstraction of a person, i.e., the role.
1238:
accounts of Stanislavski's work (according to which early experiments in emotion memory were 'abandoned' and the approach 'reversed' with a discovery of the scientific approach of
458:, then I do something, I am living my own personal life. At moments like that there is no character. Only me. All that remains of the character and the play are the situation, the
1012:
rehearsing scenes anew in terms of the actors' tasks. "They must avoid at all costs," Benedetti explains, "merely repeating the externals of what they had done the day before."
819:
and exploratory work could be undertaken in isolation from the public, in order to develop new forms and techniques. Stanislavski later defined a theatre studio as "neither a
252:
and the independent theatre movement. Stanislavski's earliest reference to his system appears in 1909, the same year that he first incorporated it into his rehearsal process.
2201:
1669:
Benedetti (1989, 5—11, 15, 18) and (1999b, 254), Braun (1982, 59), Carnicke (2000, 13, 16, 29), Counsell (1996, 24), Gordon (2006, 38, 40—41), and Innes (2000, 53—54).
170:
encouraged a greater attention to "inner action" and a more intensive investigation of the actor's process. He began to develop the more actor-centred techniques of "
2581:). Carnicke writes: "Just as it is 'true' for Stanislavsky that action is central to theatre, so is it 'true' that emotion is central to his System "; (1998, 151).
3011:
Mirodan, Vladimir. 1997. "The Way of Transformation: The Laban—Malmgren System of Dramatic Character Analysis." Diss. University of London: Royal Holloway College.
1371:
satires of Stanislavski's methods and theories. In the novel, the stage director, Ivan Vasilyevich, uses acting exercises while directing a play, which is titled
1230:
Carnicke analyses at length the splintering of the system into its psychological and physical components, both in the US and the USSR. She argues instead for its
3468:
587:
2213:
Benedetti (1999, 259). Gauss argues that "the students of the Opera Studio attended lessons in the "system" but did not contribute to its forulation" (1999, 4).
2196:
Benedetti (1999, 365), Solovyova (1999, 332—333), and Cody and Sprinchorn (2007, 927). Michael Chekhov led the company between 1924 and 1928. A decision by the
1257:
One must give actors various paths. One of these is the path of action. There is also another path: you can move from feeling to action, arousing feeling first.
596:(1909) was a watershed in his artistic development, constituting, according to Magarshack, "the first play he produced according to his system." Breaking the
2454:, who also founded a theatre studio in the US, came to reject the use of the actor's emotion memory in his later work as well; see Chamberlain (2000, 80–81).
1242:). These accounts, which emphasised the physical aspects at the expense of the psychological, revised the system in order to render it more palatable to the
2070:
Carnicke (1998, 1, 167) and (2000, 14), Counsell (1996, 24—25), Golub (1998, 1032), Gordon (2006, 71—72), Leach (2004, 29), and Milling and Ley (2001, 1—2).
653:
Action stretch back to Stanislavski's earliest work as a director (in which he focused consistently on a play's action) and the techniques he explored with
2204:
closed the theatre in 1936, to the bewilderment of its members. See Cody and Sprinchorn (2007, 927), Solovyova (1999, 331–332), and Benedetti (1999, 365).
1633:
Benedetti (1989, 30) and (1999a, 181, 185—187), Counsell (1996, 24—27), Gordon (2006, 37—38), Magarshack (1950, 294, 305), and Milling and Ley (2001, 2).
1292:
as a means to explore character and situation and insisted that her actors define their character's behaviour in terms of a sequence of tasks. The actor
609:
performance consists of the inner aspects of a role (experiencing) and its outer aspects ("embodiment") that are united in the pursuit of the supertask.
967:(now known as "Stanislavski Lane"), under the auspices of which between 1935 and 1938 he offered a significant course in the system in its final form.
964:
487:
When experiencing the role, the actor is fully absorbed by the drama and immersed in its fictional circumstances; it is a state that the psychologist
1970:
and intonations. The whole production is woven from the sense-impressions and feelings of the author and the actors."; quoted by Worrall (1996, 192).
1764:
337:
This system is based on "experiencing a role." This principle demands that as an actor, you should "experience feelings analogous" to those that the
67:
developed in the first half of the twentieth century. His system cultivates what he calls the "art of experiencing" (with which he contrasts the "
1246:
of the Soviet state. In a similar way, other American accounts re-interpreted Stanislavski's work in terms of the prevailing popular interest in
1136:. Boleslavsky thought that Strasberg over-emphasised the role of Stanislavski's technique of "emotion memory" at the expense of dramatic action.
1261:"Action, 'if', and 'given circumstances'", "emotion memory", "imagination", and "communication" all appear as chapters in Stanislavski's manual
128:
Stanislavski's early productions were created without the use of his system. His first international successes were staged using an external,
3327:
519:
3489:
1556:
273:
1759:
Counsell (1996, 25–26). Despite this distinction, however, Stanislavskian theatre, in which actors "experience" their roles, remains "
352:
he had admired in 1882, as the finest representative of the art of experiencing approach. Salvini had disagreed with the French actor
3372:
187:
3481:
2226:"; in 1928 it became the Stanislavski Opera Theatre; and in 1941 the theatre merged with Nemirovich's music studio to become the
874:
696:
Minimising at-the-table discussions, he now encouraged an "active analysis", in which the sequence of dramatic situations are
562:" of a scene, that the character needs to solve. This is often framed as a question: "What do I need to make the other person
3252:
3219:
3204:
2826:
2707:
1450:'s "actor of reason" and his "art of experiencing" corresponds to Shchepkin's "actor of feeling"; see Benedetti (1999a, 202).
2088:
Benedetti (2005, 147–148), Carnicke (1998, 1, 8) and Whyman (2008, 119–120). Not only actors are subject to this confusion;
345:
when he insists that actors should really feel what they portray "at every performance, be it the first or the thousandth."
3300:
1966:. A bench or divan at which people arrive, sit and speak—no sound effects, no details, no incidentals. Everything based on
1029:
236:
methodology, which built on three major strands of influence: (1) the director-centred, unified aesthetic and disciplined,
945:(1950). Pavel Rumiantsev—who joined the studio in 1920 from the Conservatory and sang the title role in its production of
1794:; Benedetti, for example, explains that "Stanislavski merely meant those regions of the mind which are not accessible to
1506:
Benedetti (1999a, 355—256), Carnicke (2000, 32—33), Leach (2004, 29), Magarshack (1950, 373—375), and Whyman (2008, 242).
677:
represents a rejection of his previous work". Stanislavski first explored the approach practically in his rehearsals for
1782:
Benedetti (1999a, 169) and Counsell (1996, 27). Many scholars of Stanislavski's work stress that his conception of the "
1596:
found they had this practice in common during their legendary 18-hour conversation that led to the establishment of the
573:
A task must be engaging and stimulating imaginatively to the actor, Stanislavski argues, such that it compels action:
269:
3320:
3268:
3234:
3186:
3168:
3150:
3132:
3114:
3096:
3078:
3060:
3041:
3023:
3005:
2990:
2975:
2957:
2942:
2921:
2906:
2888:
2873:
2858:
2840:
2811:
2785:
2767:
2752:
2737:
2722:
2197:
1195:, where he developed an emphasis on what Stanislavski called "communication" and "adaptation" in an approach that he
1081:—"grounded careers in brief periods of study" with him. Boleslavsky and Ouspenskaya went on to found the influential
951:
in 1922—documented its activities until 1932; his notes were published in 1969 and appear in English under the title
2773:
Benedetti, Jean. 1999b. "Stanislavsky and the Moscow Art Theatre, 1898–1938". In Leach and Borovsky (1999, 254–277).
1802:. It had nothing to do with notions of latent content advanced by Freud, whose works he did not know" (1999a, 169).
1152:. Later, many American and British actors inspired by Brando were also adepts of Stanislavski teachings, including
1101:, sustained and developed his rehearsal process of "active analysis", despite its formal prohibition by the state.
740:, although the latter's exclusively psychological techniques contrast sharply with the multivariant, holistic and
2555:, he make it clear in his books that he thinks that the philosophical foundations of Stanislavski's work lie in
1642:
Carnicke (2000, 13), Gauss (1999, 3), Gordon (2006, 45—46), Milling and Ley (2001, 6), and Rudnitsky (1981, 56).
648:, which offers the first exposition of what came to be known as his Method of Physical Action rehearsal process.
1093:(1933) played a significant role in the transmission of Stanislavski's ideas and practices to the West. In the
999:. Once the students were acquainted with the training techniques of the first two years, Stanislavski selected
504:
1339:
1300:
in the country to teach an approach to acting based on Stanislavski's system and its American derivatives was
1830:
1593:
1273:
592:
536:
262:
112:
3313:
1054:
3518:
1082:
976:
937:
A series of thirty-two lectures that he delivered to this studio between 1919 and 1922 were recorded by
634:
616:
these conflictual dynamics. In the American developments of Stanislavski's system—such as that found in
353:
3513:
3291:
79:
in order to activate other, less-controllable psychological processes—such as emotional experience and
1404:
1389:
883:
360:
On this basis, Stanislavski contrasts his own "art of experiencing" approach with what he calls the "
178:. He pioneered the use of theatre studios as a laboratory in which to innovate actor training and to
2599:
See Stanislavski (1938), chapters three, nine, four, and ten respectively, and Carnicke (1998, 151).
2318:
Benedetti (1999a, 360) and Magarshack (1950, 388–391). Stanislavski taught them again in the autumn.
3161:
Stanislavski's Legacy: A Collection of Comments on a Variety of Aspects of an Actor's Art and Life.
2668:, essentialist treatment; see Mirodan (1997, 136—170). The school's work also draws on the work of
2047:
Benedetti (1999a, 359—360), Golub (1998, 1033), Magarshack (1950, 387—391), and Whyman (2008, 136).
1109:
1034:
970:
Given the difficulties he had with completing his manual for actors, in 1935 while recuperating in
2846:
Carnicke, Sharon M. 2000. "Stanislavsky's System: Pathways for the Actor". In Hodge (2000, 11–36).
2079:
Benedetti (1999a, 354—355), Carnicke (1998, 78, 80) and (2000, 14), and Milling and Ley (2001, 2).
249:
3336:
3174:
3156:
3138:
3120:
3102:
3084:
3066:
1243:
808:
790:
772:
639:
550:
523:
488:
467:
371:
329:
289:
64:
26:
3163:
Ed. and trans. Elizabeth Reynolds Hapgood. Revised and expanded edition. London: Methuen, 1981.
2002:(2004) a detailed account of the Method of Physical Action at work in Stanislavski's rehearsals.
2778:
The Art of the Actor: The Essential History of Acting, From Classical Times to the Present Day.
1192:
1157:
1128:, Strasberg developed the earliest of Stanislavski's techniques into what came to be known as "
963:
Near the end of his life Stanislavski created an Opera—Dramatic Studio in his own apartment on
626:, for example—the forces opposing a characters' pursuit of their tasks are called "obstacles".
2930:
Krasner, David. 2000. "Strasberg, Adler and Meisner: Method Acting". In Hodge (2000, 129–150).
3362:
1769:
1760:
1443:
947:
754:
361:
245:
68:
3143:
An Actor's Handbook: An Alphabetical Arrangement of Concise Statements on Aspects of Acting.
3450:
3295:
2894:
Golub, Spencer. 1998. "Stanislavsky, Konstantin (Sergeevich)". In Banham (1998, 1032–1033).
1651:
Benedetti (1989, 1) and (2005, 109), Gordon (2006, 40—41), and Milling and Ley (2001, 3—5).
1308:
854:
828:
759:
problems, and instead encouraged his students to shake off the character after rehearsing.
714:
679:
580:
The task is the spur to creative activity, its motivation. The task is a decoy for feeling.
221:
179:
148:
61:
21:
8:
3367:
3286:
2641:
1399:
1301:
1070:
1058:
1020:
900:
840:
701:
559:
507:
with the role, however, since a genuine belief that one had become someone else would be
477:
92:
3476:
3387:
2098:
1597:
1234:
integration. She suggests that Moore's approach, for example, accepts uncritically the
938:
858:
848:
832:
804:
730:
658:
654:
622:
597:
419:
401:
techniques. In this way, it attempts to recreate in the actor the inner, psychological
297:
281:
241:
205:
116:
2478:
he had been telling his actors at home, what indeed he had advocated in his notes for
882:, whose approach Stanislavski hoped to combine with his system, in order to prove its
3443:
3264:
3248:
3230:
3215:
3200:
3182:
3164:
3146:
3128:
3110:
3092:
3074:
3056:
3037:
3019:
3001:
2986:
2971:
2953:
2938:
2917:
2902:
2884:
2869:
2854:
2836:
2822:
2807:
2781:
2763:
2748:
2733:
2718:
2703:
1799:
1447:
1394:
1200:
1191:
Meisner, an actor at the Group Theatre, went on to teach method acting at New York's
1062:
919:
844:
812:
722:
492:
394:
390:
213:
171:
76:
1494:
Benedetti (1999a, 325, 360) and (2005, 121) and Roach (1985, 197—198, 205, 211—215).
540:(1909), the earliest recorded instance of the analysis of action in discrete "bits".
3357:
3352:
2963:
2883:. American University Studies ser. 26 Theatre Arts, vol. 29. New York: Peter Lang.
2849:
Carnicke, Sharon Marie. 2010. "The Knebel Technique: Active Analysis in Practice."
2673:
2657:
2653:
1783:
1358:
1293:
1285:
1231:
1181:
1007:
923:
879:
745:
741:
338:
167:
137:
129:
2927:
Knebel, Maria. 2016. "Active Analysis of the Play and the Role." In Thomas (2016).
1962:
1565:
433:
142:
3457:
3404:
2669:
2479:
2451:
2279:
1579:
1312:
1277:
1132:" (or, with Strasberg, more usually simply "the Method"), which he taught at the
1125:
1121:
1066:
904:
896:
836:
718:
442:
378:
342:
133:
108:
41:) aspects of a role uniting in the pursuit of a character's overall "supertask" (
30:
3036:. Theater:Theory/Text/Performance Ser. Ann Arbor: University of Michigan Press.
1763:" in the broader critical sense; see Stanislavski (1938, 22–27) and the article
1363:
700:. "The best analysis of a play", Stanislavski argued, "is to take action in the
91:. "The best analysis of a play", Stanislavski argued, "is to take action in the
3436:
3392:
2563:
2552:
2223:
1574:
1409:
1250:
1216:
1185:
1173:
1165:
1144:
1117:
820:
762:
578:
great drawing power and must then stimulate endeavours, movements and actions.
3242:
The Stanislavsky System of Acting: Legacy and Influence in Modern Performance.
2151:
Stanislavski, quoted by Magarshack (1950, 78); see also Benedetti (1999, 209).
831:
of more or less trained actors." The First Studio's founding members included
545:
Action is the very basis of our art, and with it our creative work must begin.
193:
111:
actor and director until the age of 33, in 1898 Stanislavski co-founded with
3507:
3282:
3192:
2799:
2103:
2089:
1795:
1791:
1289:
1247:
1204:
1177:
1169:
1149:
1133:
1129:
1113:
1105:
1086:
1046:
1042:
1024:
911:
and Lev Pospekhin (from the Bolshoi Ballet) to teach expressive movement and
737:
697:
666:
613:
601:
414:
398:
341:
experiences "each and every time you do it." Stanislavski approvingly quotes
257:
237:
225:
152:
88:
72:
1527:
Carnicke (1998, 1, 167), Counsell (1996, 24), and Milling and Ley (2001, 1).
1478:
1442:
Benedetti (1999a, 201), Carnicke (2000, 17), and Stanislavski (1938, 16—36 "
1296:
was also an early advocate of Stanislavski's approach in Britain. The first
779:
institution in which elements of the system were first developed and taught.
3419:
3382:
2645:
1787:
1297:
1281:
1212:
1098:
1094:
1078:
1074:
824:
726:
527:
305:
253:
80:
3305:
2115:
From a note in the Stanislavski archive, quoted by Benedetti (1999a, 216).
1379:, directed with great success by Stanislavski at the Moscow Arts Theatre.
767:
2665:
2556:
1239:
862:
662:
367:
232:
Stanislavski eventually came to organise his techniques into a coherent,
197:
156:
2762:. Revised edition. Original edition published in 1988. London: Methuen.
2732:. Revised edition. Original edition published in 1982. London: Methuen.
1479:"BBC Radio 4 - Michael Sheen Gets into Character, from System to Method"
1327:
1315:
regarded Stanislavski as the primary influence on his own theatre work.
1069:, Andrius Jilinsky, Leo Bulgakov, Varvara Bulgakov, Vera Solovyova, and
3109:. Trans. and ed. Jean Benedetti. London and New York: Routledge, 2010.
3073:. Trans. and ed. Jean Benedetti. London and New York: Routledge, 2008.
2652:
to produce a "movement psychology" for the analysis and development of
1208:
1153:
1038:
496:
406:
1288:, the experimental studio that they founded together, Littlewood used
1284:
were the first to introduce Stanislavski's techniques there. In their
984:
749:
174:" and his focus shifted from his productions to rehearsal process and
2661:
2649:
2644:'s approach combines Stanislavski's system with the movement work of
1979:
Benedetti (1999a, 190), Leach (2004, 17), and Magarshack (1950, 305).
1414:
1235:
1161:
847:, all of whom would exert a considerable influence on the subsequent
669:
and the practice of anatomising scripts in terms of bits and tasks).
617:
508:
402:
3029:
Postlewait, Thomas. 1998. "Meisner, Sanford". In Banham (1998, 719).
2983:
Masters of the Stage: British Acting Teachers Talk About Their Craft
2835:. Russian Theatre Archive Ser. London: Harwood Academic Publishers.
162:
Both his struggles with Chekhov's drama (out of which his notion of
2866:
Signs of Performance: An Introduction to Twentieth-Century Theatre.
2228:
Stanislavski and Nemirovich-Danchenko Moscow Academic Music Theatre
2133:
Gauss (1999, 34), Whymann (2008, 31), and Benedetti (1999, 209—11).
2093:
1851:
Letter to Gurevich, 9 April 1931; quoted by Benedetti (1999a, 338).
980:
816:
776:
709:
and that is the most important thing in creative work on the stage.
217:
212:) and other members of the First Studio, an institution devoted to
175:
29:'s system, based on his "Plan of Experiencing" (1935), showing the
3145:
Ed. and trans. Elizabeth Reynolds Hapgood. London: Methuen, 1990.
3051:
Trans. George Petrov. Ed. Sydney Schultze. Revised translation of
3377:
2881:
Lear's Daughters: The Studios of the Moscow Art Theatre 1905–1927
2821:. Trans. Michael Glenny. Melville House; Reprint edition, 2013.
2484:
1660:
Benedetti (1989, 1), Gordon (2006, 42—43), and Roach (1985, 204).
1621:
1570:
941:
and published in 1939; they have been translated into English as
908:
644:
382:
375:
349:
163:
136:—in each production he planned the interpretation of every role,
2660:
differs significantly from Stanislavski's, moving away from his
1573:" (2000, 29). The principle of a unity of all elements (or what
918:
By means of his system, Stanislavski aimed to unite the work of
713:
Just as the First Studio, led by his assistant and close friend
2577:
2559:
1266:
1089:, which they modeled on the First Studio. Boleslavsky's manual
1001:
685:
429:
285:
233:
53:
2899:
The Purpose of Playing: Modern Acting Theories in Perspective.
2309:
Letter to Elizabeth Hapgood, quoted in Benedetti (1999a, 363).
733:
and Stanislavski's system were enthroned as exemplary models.
2551:
Though Strasberg's own approach demonstrates a clear debt to
1196:
1140:
927:
912:
887:
815:
and develop his system. It was conceived as a space in which
57:
3181:
Trans. Elizabeth Reynolds Hapgood. London: Routledge, 1998.
1311:
have been influenced by Stanislavski's ideas and practices.
1139:
Every afternoon for five weeks during the summer of 1934 in
1053:
Many of Stanislavski's former students taught acting in the
1045:, the American development of Stanislavski's system, in the
926:. He hoped that the successful application of his system to
763:
Theatre studios and the development of Stanislavski's system
987:'s play (which, after Stanislavski's death, he completed).
971:
500:
3263:
Theatre Production Studies ser. London and NY: Routledge.
1269:
whole of his approach, which resists easy schematisation.
736:
Many actors routinely equate his system with the American
3409:
3127:
Trans. Elizabeth Reynolds Hapgood. London: Mentor, 1968.
2998:
Modern Theories of Performance: From Stanislavski to Boal
2142:
Benedetti (1999, 155–156, 209) and Gauss (1999, 111–112).
1714:
Milling and Ley (2001, 7) and Stanislavski (1938, 16–36).
1203:". Among the actors trained in the Meisner technique are
2804:
The Director and the Stage: From Naturalism to Grotowski
1833:
1 July] 1905; quoted by Benedetti (1999a, 168).
385:) to be the finest example of the "art of experiencing".
2326:
2324:
1318:
886:
in the crucible of the artifice and conventionality of
448:
3034:
The Player's Passion: Studies in the Science of Acting
2441:
Krasner (2000, 129—150) and Milling and Ley (2001, 4).
2061:(1998) offers a reconstruction of the studio's course.
3212:
A Director's Guide to Stanislavsky's Active Analysis.
2853:
Ed. Alison Hodge. 2nd ed. London: Routledge. 99—116.
2423:
Benedetti (1999a, 283, 286) and Gordon (2006, 71—72).
1104:
In the United States, one of Boleslavsky's students,
397:
processes sympathetically and indirectly by means of
3016:
Training an Actor: The Stanislavski System in Class.
2321:
256:
and many of the other MAT actors in that production—
2506:
Krasner (2000, 142–146) and Postlewait (1998, 719).
2300:Benedetti (1999a, 359) and Magarshack (1950, 387).
1842:Counsell (1996, 26–27) and Stanislavski (1938, 19)
1750:Stanislavski (1938, 19) and Benedetti (1999a, 18).
3000:. Basingstoke, Hampshire and New York: Palgrave.
2464:
2462:
2460:
1829:Letter to Vera Kotlyarevskaya, 13 July [
1765:Presentational acting and Representational acting
1097:, meanwhile, another of Stanislavski's students,
102:
3505:
3091:. Trans. David Magarshack. London: Faber, 2002.
2793:American Film Acting: The Stanislavski Heritage.
1502:
1500:
2948:Leach, Robert, and Victor Borovsky, eds. 1999.
2795:Studies in Cinema 28. Ann Arbor, MI: UMI Press.
2702:Trans. Daphne Woodward. London: Methuen, 1981.
2380:
2378:
2376:
2291:Benedetti (1998, xii-xiii) and (1999, 359–360).
2169:Benedetti (1999a, 209) and Leach (2004, 17—18).
2038:Stanislavski, quoted by Magarshack (1950, 375).
1941:Stanislavski, quoted by Magarshack (1950, 397).
389:Stanislavski's approach seeks to stimulate the
2457:
2370:(1998) offers a reconstruction of that course.
2020:Benedetti (1999a, 360) and Whyman (2008, 247).
1811:Benedetti (2005, 124) and Counsell (1996, 27).
132:-centred technique that strove for an organic
3321:
2631:Benedetti (1999a, xiii) and Leach (2004, 46).
2468:Benedetti (1999a, 351) and Gordon (2006, 74).
1861:
1859:
1857:
1497:
1433:Whyman (2008, 38–42) and Carnicke (1998, 99).
600:'s tradition of open rehearsals, he prepared
2387:
2373:
2282:edited them and they were published in 1939.
2160:Benedetti (1999a, 210) and Gauss (1999, 32).
2102:credited Stanislavski with the invention of
1988:Leach (2004, 17) and Magarshack (1950, 307).
1910:Leach (2004, 32) and Magarshack (1950, 322).
1592:Milling and Ley (2001, 5). Stanislavski and
1193:Neighborhood Playhouse School of the Theatre
629:
288:, was staged without the use of his system;
3335:
3301:Routledge Performance Archive: Stanislavski
3227:Stanislavski in Rehearsal: The Final Years.
1678:Carnicke (1998, 72) and Whyman (2008, 262).
983:in Stanislavski's unfinished production of
3328:
3314:
2509:
1854:
1514:
1512:
1272:Stanislavski's work made little impact on
503:. Stanislavski did not encourage complete
2935:Makers of Modern Theatre: An Introduction
2901:Ann Arbor: University of Michigan Press.
3229:Trans. Jean Benedetti. London: Methuen.
2402:Blum (1984, 63) and Hayward (1996, 216).
2202:Central Committee of the Communist Party
1019:
958:
873:
827:for beginners, but a laboratory for the
766:
633:
518:
366:
316:
268:
192:
20:
2952:Cambridge: Cambridge University Press.
2798:Braun, Edward. 1982. "Stanislavsky and
2717:Cambridge: Cambridge University Press.
2656:. As a result, though, its approach to
2618:
2616:
2614:
2542:Carnicke (1998, 149—) and Moore (1968).
2265:
2263:
2253:
2251:
2249:
2247:
2245:
1928:
1926:
1509:
657:and later with the First Studio of the
405:of behaviour, rather than to present a
274:Stanislavski's production of Chekhov's
244:; (2) the actor-centred realism of the
3506:
3244:Cambridge: Cambridge University Press.
1728:
1726:
1724:
1722:
1720:
1490:
1488:
248:; and (3) the Naturalistic staging of
159:, Stanislavski remained dissatisfied.
3397:
3309:
3055:. Moscow: Academy of Sciences, 1969.
2996:Milling, Jane, and Graham Ley. 2001.
2410:
2408:
2216:
642:in his 1929—1930 production plan for
3089:Stanislavsky on the Art of the Stage
2611:
2260:
2242:
1923:
1322:
1319:Criticism of Stanislavski's theories
1265:(1938) and all were elements of the
605:of the script into discrete "bits".
454:When I give a genuine answer to the
449:Given circumstances and the Magic If
180:experiment with new forms of theatre
3199:Ed. Lola Cohen. London: Routledge.
2700:The Theatre of Edward Gordon Craig.
2050:
1717:
1624:, see Stanislavski (1938, 402—413).
1485:
514:
328:Jean Benedetti, acting teacher and
13:
3225:Toporkov, Vasily Osipovich. 2001.
3071:An Actor's Work: A Student's Diary
2916:. London and New York: Routledge.
2405:
1436:
1304:, where it is still taught today.
166:emerged) and his experiments with
14:
3530:
3490:Moscow Art Theatre production of
3482:Moscow Art Theatre production of
3276:
1563:, "describe movements, gestures,
1124:. Together with Stella Adler and
393:to create afresh and to activate
3283:The Stanislavsky Research Centre
2970:London and Boston: Faber, 1986.
2914:Twentieth-Century Actor Training
2868:London and New York: Routledge.
2679:
2634:
2625:
2602:
2593:
2584:
2569:
2545:
2366:Benedetti (1998, xii). His book
1326:
807:(MAT) was a theatre studio that
2715:The Cambridge Guide to Theatre.
2590:Quoted by Carnicke (1998, 151);
2536:
2527:
2518:
2500:
2491:
2471:
2444:
2435:
2426:
2417:
2396:
2360:
2351:
2342:
2333:
2312:
2303:
2294:
2285:
2272:
2233:
2207:
2190:
2181:
2172:
2163:
2154:
2145:
2136:
2127:
2118:
2109:
2082:
2073:
2064:
2041:
2032:
2023:
2014:
2005:
1991:
1982:
1973:
1953:
1944:
1935:
1913:
1904:
1895:
1886:
1877:
1868:
1845:
1836:
1823:
1814:
1805:
1776:
1753:
1744:
1735:
1708:
1699:
1690:
1681:
1672:
1663:
1654:
1645:
1636:
1627:
1613:
1603:
1586:
1548:
1539:
1530:
1518:Quoted by Carnicke (1998, 156).
869:
798:
3177:, and Pavel Rumyantsev. 1975.
2985:. New York: Grove Weidenfeld.
2819:Black Snow (Театральный роман)
2760:Stanislavski: His Life and Art
2648:and the character typology of
2488:"; see Benedetti (1999a, 351).
1521:
1471:
1462:
1453:
1427:
1369:Black Snow (Театральный роман)
857:, who had been Stanislavski's
665:(such as the experiments with
103:Stanislavski before his system
1:
3047:Rudnitsky, Konstantin. 1981.
2950:A History of Russian Theatre.
2730:Stanislavski: An Introduction
1361:, writing in the manner of a
1091:Acting: The First Six Lessons
113:Vladimir Nemirovich-Danchenko
71:"). It mobilises the actor's
3018:New York: The Viking Press.
2029:Benedetti (1999a, 356, 358).
1820:Benedetti (1999a, 202, 342).
1790:", "superconscious") is pre-
903:. Stanislavski also invited
811:created in 1912 in order to
428:finds other employment in a
7:
2497:Benedetti (1999a, 351—352).
2482:in the production plan for
2393:Benedetti (1999a, 368–369).
2348:Benedetti (1999a, 362–363).
1705:Benedetti (1999a, 376–377).
1468:Benedetti (1999a, 182—183).
1382:
1083:American Laboratory Theatre
1041:, exemplified the power of
1015:
10:
3537:
2831:Carnicke, Sharon M. 1998.
2745:Stanislavski and the Actor
2713:Banham, Martin, ed. 1998.
2691:
2640:Mekler (1989, 69; 73—75).
2368:Stanislavski and the Actor
2357:Solovyova (1999, 355–356).
2059:Stanislavski and the Actor
1696:Milling and Ley (2001, 6).
1108:, went on to co-found the
993:An Actor's Work on Himself
675:method of physical actions
3467:
3428:
3343:
3107:An Actor's Work on a Role
2912:Hodge, Alison, ed. 2000.
2000:Stanislavski in Rehearsal
1950:Stanislavski (1957, 138).
1883:Carnicke (1998, 163–164).
1405:Twentieth-century theatre
1390:List of acting techniques
997:An Actor's Work on a Role
630:Method of Physical Action
588:Stanislavski's production
413:the role of Charlotta in
151:stagings of the plays of
134:unity of all its elements
3197:The Lee Strasberg Notes.
3175:Stanislavski, Constantin
3157:Stanislavski, Konstantin
3139:Stanislavski, Konstantin
3121:Stanislavski, Konstantin
3103:Stanislavski, Konstantin
3085:Stanislavski, Konstantin
3067:Stanislavski, Konstantin
2879:Gauss, Rebecca B. 1999.
2758:Benedetti, Jean. 1999a.
2524:Krasner (2000, 129—150).
2432:Carnicke (2010, 99—116).
2124:Stanislavski (1950, 91).
1421:
1367:, includes in his novel
1030:A Streetcar Named Desire
803:The First Studio of the
775:First Studio in 1915, a
566:?" or "What do I want?"
3337:Konstantin Stanislavski
3292:The Stanislavski Centre
3261:The Moscow Art Theatre.
3049:Meyerhold the Director.
3032:Roach, Joseph R. 1985.
2864:Counsell, Colin. 1996.
2791:Blum, Richard A. 1984.
2776:Benedetti, Jean. 2005.
2743:Benedetti, Jean. 1998.
2728:Benedetti, Jean. 1989.
2562:and were unaffected by
2384:Benedetti (1999a, 368).
2339:Magarshack (1950, 391).
2330:Benedetti (1999a, 363).
2187:Chamberlain (2000, 80).
2011:Benedetti (1999a, 360).
1932:Benedetti (1999a, 190).
1741:Stanslavski (1938, 27).
1732:Stanislavski (1938, 19)
1569:, not inner action and
1459:Benedetti (1999a, 170).
1244:dialectical materialism
943:On the Art of the Stage
791:Konstantin Stanislavski
551:Konstantin Stanislavski
489:Mihaly Csikszentmihalyi
468:Konstantin Stanislavski
374:considered the Italian
65:Konstantin Stanislavski
3383:Through-line of action
3179:Stanislavski on Opera.
2897:Gordon, Robert. 2006.
2269:Benedetti (1999, 259).
2257:Benedetti (1999, 256).
2239:Benedetti (1999, 255).
1259:
1050:
891:
796:
780:
721:. With the arrival of
711:
649:
593:A Month in the Country
585:
556:
541:
537:A Month in the Country
473:
438:
386:
335:
313:
263:A Month in the Country
229:
126:
46:
16:System to train actors
3363:Art of representation
3345:Stanislavski's system
3259:Worrall, Nick. 1996.
3210:Thomas, James. 2016.
3053:Rezhisser Meierkhol'd
2968:Stanislavsky: A Life.
2937:. London: Routledge.
2933:Leach, Robert. 2004.
2833:Stanislavsky in Focus
2698:Bablet, Denis. 1962.
2664:conception towards a
2515:Krasner (2000b, 129).
1901:Carnicke (1998, 108).
1892:Carnicke (1998, 164).
1874:Carnicke (1998, 163).
1770:art of representation
1444:art of representation
1309:theatre practitioners
1255:
1033:, directed by former
1023:
959:Opera—Dramatic Studio
953:Stanislavski on Opera
877:
782:
770:
755:The Imaginary Invalid
706:
637:
575:
543:
522:
452:
425:
370:
362:art of representation
320:
317:Experiencing the role
272:
228:, and self-discovery.
196:
172:psychological realism
121:
69:art of representation
56:approach to training
50:Stanislavski's system
24:
3451:Building a Character
3398:Objective and Action
3296:Rose Bruford College
3240:Whyman, Rose. 2008.
3014:Moore, Sonia. 1968.
2817:Bulgakov, Mikhail.
2450:Banham (1998, 112).
1865:Counsell (1996, 28).
1687:Worrall (1996, 185).
1545:Benedetti (1989, 5).
1536:Counsell (1996, 25).
861:since 1905 and whom
855:Leopold Sulerzhitsky
715:Leopold Sulerzhitsky
188:major crisis in 1906
107:Having worked as an
62:theatre practitioner
3368:Given circumstances
3287:University of Leeds
2981:Mekler, Eva. 1989.
2806:. London: Methuen.
2747:. London: Methuen.
2642:Drama Centre London
2533:Carnicke (1998, 5).
2414:Carnicke (1998, 3).
2198:People's Commissars
1400:Russian avant-garde
1302:Drama Centre London
1073:. Others—including
1071:Tamara Daykarhanova
1059:Richard Boleslavsky
1047:cinema of the 1950s
995:and two of that in
901:Moscow Conservatory
878:The Russian singer
841:Richard Boleslavsky
702:given circumstances
560:given circumstances
478:given circumstances
220:, which emphasised
93:given circumstances
3519:Moscow Art Theatre
3477:Moscow Art Theatre
2608:Gordon (2006, 71).
2099:The New York Times
1557:the production of
1338:. You can help by
1276:before the 1960s.
1051:
1027:'s performance in
939:Konkordia Antarova
892:
859:personal assistant
849:history of theatre
833:Yevgeny Vakhtangov
805:Moscow Art Theatre
781:
655:Vsevolod Meyerhold
650:
623:Respect for Acting
542:
460:life circumstances
420:The Cherry Orchard
387:
314:
230:
117:Moscow Art Theatre
47:
3514:Acting techniques
3501:
3500:
3444:An Actor Prepares
3253:978-0-521-88696-3
3220:978-1-4742-5659-9
3214:London: Methuen.
3205:978-0-415-55186-1
2964:Magarshack, David
2827:978-1-61219-214-7
2780:London: Methuen.
2708:978-0-413-47880-1
2622:Leach (2004, 46).
2178:Leach (1994, 18).
1448:Mikhail Shchepkin
1446:" corresponds to
1395:Russian symbolism
1356:
1355:
1201:Meisner technique
1063:Maria Ouspenskaya
920:Mikhail Shchepkin
845:Maria Ouspenskaya
748:work on Argan in
723:Socialist realism
704:." He continues:
280:, which gave the
242:Meiningen company
60:that the Russian
3526:
3358:Affective memory
3330:
3323:
3316:
3307:
3306:
3125:Creating a Role.
2686:
2683:
2677:
2674:Theatre Workshop
2658:characterisation
2638:
2632:
2629:
2623:
2620:
2609:
2606:
2600:
2597:
2591:
2588:
2582:
2575:Carnicke (1998,
2573:
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2018:
2012:
2009:
2003:
1995:
1989:
1986:
1980:
1977:
1971:
1957:
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1948:
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1780:
1774:
1761:representational
1757:
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1460:
1457:
1451:
1440:
1434:
1431:
1359:Mikhail Bulgakov
1351:
1348:
1330:
1323:
1294:Michael Redgrave
1286:Theatre Workshop
1182:Daniel Day-Lewis
1008:Romeo and Juliet
965:Leontievski Lane
924:Feodor Chaliapin
880:Feodor Chaliapin
794:
746:characterisation
554:
515:Tasks and action
471:
333:
294:seated far right
240:approach of the
3536:
3535:
3529:
3528:
3527:
3525:
3524:
3523:
3504:
3503:
3502:
3497:
3463:
3458:Creating a Role
3424:
3405:Psychotechnique
3373:Inner monologue
3339:
3334:
3279:
3274:
2851:Actor Training.
2694:
2689:
2685:Bulgakov (2013)
2684:
2680:
2670:Joan Littlewood
2639:
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2452:Michael Chekhov
2449:
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2280:Liubov Gurevich
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2019:
2015:
2010:
2006:
1996:
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1987:
1983:
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1963:mises-en-scènes
1958:
1954:
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1580:Gesamtkunstwerk
1553:
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1437:
1432:
1428:
1424:
1419:
1385:
1377:The White Guard
1352:
1346:
1343:
1336:needs expansion
1321:
1313:Jerzy Grotowski
1278:Joan Littlewood
1274:British theatre
1263:An Actor's Work
1126:Sanford Meisner
1122:Cheryl Crawford
1112:(1931—1940) in
1085:(1923—1933) in
1067:Michael Chekhov
1018:
961:
932:An Actor's Work
905:Serge Wolkonsky
897:Bolshoi Theatre
872:
837:Michael Chekhov
825:dramatic school
801:
795:
789:
765:
663:First World War
632:
555:
549:
517:
472:
466:
451:
443:psychotechnique
343:Tommaso Salvini
334:
327:
319:
300:as Konstantin (
222:experimentation
105:
87:situations are
45:) in the drama.
17:
12:
11:
5:
3534:
3533:
3522:
3521:
3516:
3499:
3498:
3496:
3495:
3487:
3479:
3473:
3471:
3465:
3464:
3462:
3461:
3454:
3447:
3440:
3437:My Life in Art
3432:
3430:
3426:
3425:
3423:
3422:
3417:
3416:
3415:
3402:
3401:
3400:
3393:Unit of action
3390:
3385:
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3375:
3370:
3365:
3360:
3355:
3349:
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3333:
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3304:
3303:
3298:
3289:
3278:
3277:External links
3275:
3273:
3272:
3246:
3245:
3238:
3223:
3208:
3193:Strasberg, Lee
3190:
3172:
3154:
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3082:
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2690:
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2592:
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2568:
2564:psychoanalysis
2553:psychoanalysis
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2259:
2241:
2232:
2224:Studio-Theatre
2215:
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2171:
2162:
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2144:
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2126:
2117:
2108:
2081:
2072:
2063:
2049:
2040:
2031:
2022:
2013:
2004:
1990:
1981:
1972:
1952:
1943:
1934:
1922:
1912:
1903:
1894:
1885:
1876:
1867:
1853:
1844:
1835:
1822:
1813:
1804:
1798:recall or the
1775:
1752:
1743:
1734:
1716:
1707:
1698:
1689:
1680:
1671:
1662:
1653:
1644:
1635:
1626:
1612:
1602:
1585:
1575:Richard Wagner
1547:
1538:
1529:
1520:
1508:
1496:
1484:
1470:
1461:
1452:
1435:
1425:
1423:
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1418:
1417:
1412:
1410:Ivana Chubbuck
1407:
1402:
1397:
1392:
1386:
1384:
1381:
1354:
1353:
1333:
1331:
1320:
1317:
1251:psychoanalysis
1232:psychophysical
1217:Sydney Pollack
1186:Marilyn Monroe
1174:Dustin Hoffman
1166:Robert De Niro
1145:Harold Clurman
1118:Harold Clurman
1017:
1014:
977:Mikhail Kedrov
960:
957:
871:
868:
800:
797:
787:
773:Stanislavski's
764:
761:
742:psychophysical
631:
628:
547:
516:
513:
505:identification
499:techniques of
464:
450:
447:
332:'s biographer.
325:
318:
315:
210:right of Gorky
202:seated, centre
104:
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15:
9:
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3388:Turning point
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2841:90-5755-070-9
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2017:
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1968:perezhivaniye
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1566:mise en scène
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1341:
1337:
1334:This section
1332:
1329:
1325:
1324:
1316:
1314:
1310:
1305:
1303:
1299:
1295:
1291:
1290:improvisation
1287:
1283:
1279:
1275:
1270:
1268:
1264:
1258:
1254:
1252:
1249:
1245:
1241:
1237:
1233:
1228:
1224:
1220:
1218:
1214:
1210:
1206:
1205:Robert Duvall
1202:
1198:
1194:
1189:
1187:
1183:
1179:
1178:Ellen Burstyn
1175:
1171:
1170:Harvey Keitel
1167:
1163:
1159:
1155:
1151:
1150:Marlon Brando
1146:
1142:
1137:
1135:
1134:Actors Studio
1131:
1130:Method acting
1127:
1123:
1119:
1115:
1111:
1110:Group Theatre
1107:
1106:Lee Strasberg
1102:
1100:
1096:
1092:
1088:
1084:
1080:
1076:
1072:
1068:
1064:
1060:
1056:
1055:United States
1048:
1044:
1043:method acting
1040:
1036:
1035:Group Theatre
1032:
1031:
1026:
1025:Marlon Brando
1022:
1013:
1010:
1009:
1004:
1003:
998:
994:
988:
986:
982:
979:, who played
978:
973:
968:
966:
956:
954:
950:
949:
948:Eugene Onegin
944:
940:
935:
933:
929:
925:
921:
916:
914:
910:
906:
902:
898:
889:
885:
881:
876:
867:
864:
860:
856:
852:
850:
846:
842:
838:
834:
830:
826:
822:
818:
814:
810:
806:
792:
786:
778:
774:
769:
760:
757:
756:
751:
747:
743:
739:
734:
732:
728:
724:
720:
716:
710:
705:
703:
699:
694:
692:
688:
687:
682:
681:
680:Three Sisters
676:
670:
668:
667:improvisation
664:
660:
656:
647:
646:
641:
636:
627:
625:
624:
619:
615:
610:
606:
603:
599:
595:
594:
589:
584:
581:
574:
571:
567:
565:
561:
552:
546:
539:
538:
533:
529:
525:
521:
512:
510:
506:
502:
498:
494:
490:
485:
481:
479:
469:
463:
461:
457:
446:
444:
437:
435:
434:café-chantant
431:
424:
422:
421:
416:
415:Anton Chekhov
410:
408:
404:
400:
396:
392:
384:
381:(pictured as
380:
377:
373:
369:
365:
363:
358:
355:
351:
346:
344:
340:
331:
324:
311:
307:
303:
299:
295:
292:as Trigorin (
291:
287:
283:
279:
277:
271:
267:
265:
264:
259:
258:Ivan Turgenev
255:
251:
247:
243:
239:
235:
227:
226:improvisation
223:
219:
215:
211:
207:
203:
199:
195:
191:
189:
183:
181:
177:
173:
169:
165:
160:
158:
154:
153:Anton Chekhov
150:
145:
144:
143:mise en scène
139:
135:
131:
125:
120:
118:
114:
110:
100:
96:
94:
90:
84:
82:
78:
74:
70:
66:
63:
59:
55:
51:
44:
40:
37:) and outer (
36:
32:
28:
25:A diagram of
23:
19:
3491:
3483:
3456:
3449:
3442:
3435:
3420:Mental image
3411:
3344:
3260:
3247:
3241:
3226:
3211:
3196:
3178:
3160:
3142:
3124:
3106:
3088:
3070:
3052:
3048:
3033:
3015:
2997:
2982:
2967:
2949:
2934:
2913:
2898:
2880:
2865:
2850:
2832:
2818:
2803:
2792:
2777:
2759:
2744:
2729:
2714:
2699:
2681:
2646:Rudolf Laban
2636:
2627:
2604:
2595:
2586:
2576:
2571:
2547:
2538:
2529:
2520:
2511:
2502:
2493:
2483:
2473:
2446:
2437:
2428:
2419:
2398:
2389:
2367:
2362:
2353:
2344:
2335:
2314:
2305:
2296:
2287:
2274:
2235:
2218:
2209:
2192:
2183:
2174:
2165:
2156:
2147:
2138:
2129:
2120:
2111:
2097:
2084:
2075:
2066:
2058:
2052:
2043:
2034:
2025:
2016:
2007:
1999:
1993:
1984:
1975:
1967:
1961:
1955:
1946:
1937:
1915:
1906:
1897:
1888:
1879:
1870:
1847:
1838:
1825:
1816:
1807:
1788:subconscious
1778:
1755:
1746:
1737:
1710:
1701:
1692:
1683:
1674:
1665:
1656:
1647:
1638:
1629:
1615:
1605:
1588:
1578:
1564:
1558:
1550:
1541:
1532:
1523:
1473:
1464:
1455:
1438:
1429:
1376:
1372:
1368:
1364:roman à clef
1362:
1357:
1344:
1340:adding to it
1335:
1306:
1298:drama school
1282:Ewan MacColl
1271:
1262:
1260:
1256:
1240:behaviourism
1236:teleological
1229:
1225:
1221:
1213:Diane Keaton
1190:
1158:Julie Harris
1138:
1103:
1099:Maria Knebel
1095:Soviet Union
1090:
1079:Joshua Logan
1075:Stella Adler
1057:, including
1052:
1028:
1006:
1000:
996:
992:
989:
969:
962:
952:
946:
942:
936:
931:
917:
893:
884:universality
870:Opera Studio
853:
809:Stanislavski
802:
799:First Studio
783:
753:
735:
712:
707:
695:
690:
689:in 1934 and
684:
678:
674:
671:
651:
643:
640:Stanislavski
638:Sketches by
621:
611:
607:
591:
586:
579:
576:
572:
568:
563:
557:
544:
535:
531:
524:Stanislavski
509:pathological
486:
482:
474:
459:
455:
453:
439:
426:
418:
411:
395:subconscious
388:
372:Stanislavski
359:
347:
336:
330:Stanislavski
321:
309:
301:
293:
290:Stanislavski
275:
261:
254:Olga Knipper
231:
209:
201:
184:
161:
149:Naturalistic
141:
127:
122:
106:
97:
85:
81:subconscious
75:thought and
49:
48:
42:
38:
34:
27:Stanislavski
18:
3492:The Seagull
3469:Productions
1784:unconscious
1559:The Seagull
1307:Many other
863:Maxim Gorky
829:experiments
817:pedagogical
777:pedagogical
771:Members of
661:before the
276:The Seagull
157:Maxim Gorky
3508:Categories
2654:characters
2104:the Method
1594:Nemirovich
1373:Black Snow
1267:systematic
1209:Tom Cruise
1154:James Dean
1039:Elia Kazan
698:improvised
602:Turgenev's
497:meditation
407:simulacrum
260:'s comedy
234:systematic
206:Vakhtangov
140:, and the
89:improvised
54:systematic
2662:modernist
2650:Carl Jung
2557:Pavlovian
1920:control."
1796:conscious
1577:called a
1415:Ion Cojar
1347:July 2023
1162:Al Pacino
907:to teach
693:in 1935.
618:Uta Hagen
614:improvise
399:conscious
376:tragedian
354:Cocquelin
339:character
298:Meyerhold
168:Symbolism
73:conscious
3195:. 2010.
3159:. 1968.
3141:. 1963.
3123:. 1961.
3105:. 1957.
3087:. 1950.
3069:. 1938.
2966:. 1950.
2814:. 59–76.
2666:romantic
2480:Leonidov
2200:and the
2094:obituary
1792:Freudian
1383:See also
1248:Freudian
1114:New York
1087:New York
1016:Heritage
981:Tartuffe
955:(1975).
934:(1938).
813:research
788:—
548:—
465:—
326:—
304:), with
302:on floor
238:ensemble
218:pedagogy
214:research
176:pedagogy
138:blocking
130:director
3378:Subtext
3294:at the
3285:at the
2800:Chekhov
2692:Sources
2485:Othello
1786:" (or "
1773:26–27).
1622:subtext
1571:subtext
1561:in 1898
1197:branded
1037:member
985:Molière
909:diction
821:theatre
785:studio.
750:Molière
725:in the
691:Molière
645:Othello
528:Knipper
491:calls "
383:Othello
379:Salvini
350:Othello
306:Knipper
278:in 1898
250:Antoine
204:) with
164:subtext
109:amateur
3484:Hamlet
3353:Action
3267:
3251:
3233:
3218:
3203:
3185:
3167:
3149:
3131:
3113:
3095:
3077:
3059:
3040:
3022:
3004:
2989:
2974:
2956:
2941:
2920:
2905:
2887:
2872:
2857:
2839:
2825:
2810:
2784:
2766:
2751:
2736:
2721:
2706:
2578:passim
2560:reflex
1002:Hamlet
843:, and
823:nor a
738:Method
729:, the
686:Carmen
532:centre
430:circus
403:causes
310:behind
296:) and
286:emblem
58:actors
3429:Books
3412:As if
1422:Notes
1199:the "
1141:Paris
1116:with
928:opera
913:dance
888:opera
583:beat.
534:) in
432:of a
198:Gorky
52:is a
39:right
31:inner
3410:The
3265:ISBN
3249:ISBN
3231:ISBN
3216:ISBN
3201:ISBN
3183:ISBN
3165:ISBN
3147:ISBN
3129:ISBN
3111:ISBN
3093:ISBN
3075:ISBN
3057:ISBN
3038:ISBN
3020:ISBN
3002:ISBN
2987:ISBN
2972:ISBN
2954:ISBN
2939:ISBN
2918:ISBN
2903:ISBN
2885:ISBN
2870:ISBN
2855:ISBN
2837:ISBN
2823:ISBN
2808:ISBN
2782:ISBN
2764:ISBN
2749:ISBN
2734:ISBN
2719:ISBN
2704:ISBN
2672:and
1831:O.S.
1800:will
1610:29).
1280:and
1215:and
1184:and
1120:and
1077:and
1005:and
972:Nice
922:and
727:USSR
719:West
683:and
526:and
501:yoga
493:flow
391:will
284:its
246:Maly
216:and
155:and
115:the
77:will
35:left
2802:".
2096:in
2092:'s
1598:MAT
1342:.
752:'s
731:MAT
659:MAT
620:'s
598:MAT
590:of
445:".
417:'s
282:MAT
95:."
43:top
3510::
3255:.
2613:^
2459:^
2407:^
2375:^
2323:^
2262:^
2244:^
1925:^
1856:^
1719:^
1511:^
1499:^
1487:^
1219:.
1211:,
1207:,
1188:.
1180:,
1176:,
1172:,
1168:,
1164:,
1160:,
1156:,
1065:,
1061:,
915:.
851:.
839:,
835:,
564:do
511:.
456:if
423::
312:).
224:,
190:.
182:.
3329:e
3322:t
3315:v
3271:.
3237:.
3222:.
3207:.
3189:.
3171:.
3153:.
3135:.
3117:.
3099:.
3081:.
3063:.
3044:.
3026:.
3008:.
2993:.
2978:.
2960:.
2945:.
2924:.
2909:.
2891:.
2876:.
2861:.
2843:.
2788:.
2770:.
2755:.
2740:.
2725:.
2710:.
2676:.
2566:.
1600:.
1481:.
1349:)
1345:(
1049:.
890:.
793:.
553:.
530:(
470:.
308:(
208:(
200:(
33:(
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