#STANISLAVSKI UN ACTOR SE PREPARA PDF SERIES#

The book, which Stanislavski annotated,includes a series of stretching and bendingexercises, to be practised daily, and otherrecommendations for health and fitness.Stanislavski worked through the exercises,adapting them as he saw fit, and appears tohave fitted them into his own daily routine. Petrovsky, a fellow actor, director, andtrainer, working in Moscow and St Peters-burg. P.Mullers My System,7 a book given to him byA. What Stanislavski meant by calling histraining and rehearsal method for actors asystem is debatable. As well as training the actorin the skills of experiencing and incarnation,the system included approaches to work on arole. The actors toilette, the preparation for per-formance, was an integral part of Stanis-lavskis system. Was not taken seriously enough one or twolessons a week was pointless: daily exercises,if only for half an hour, were the necessity.6 Her book The Stanislavski System of Acting:Legacy and Influence in Modern Performance is to be published by CUP later this year.

Rose Whyman workedpreviously in community and experimental theatre and is now a lecturer in Drama andTheatre Arts at the University of Birmingham. This raises some problems in theorizing thesystem today, as it was rooted in the science of more than a century ago, when muchless was known about the mechanisms of memory and learning.

Rose Whyman here compares whatStanislavski has to say about skill acquisition with the psychologist William Jamessdiscussion of the role of habit in learning. Such practice must becomethe actors second nature, as Stanislavski terms it. The Actors Second Nature: Stanislavski and William JamesThis article considers the origins of Stanislavskis system and his insistence that the actorsskills, like the musicians, must be honed through daily exercises. Further-more, in 1931, he stated to the Artistic Councilof the Bolshoi Opera Theatre that the teach-ing of plastic disciplines to young singers In a description of rehearsals forGriboyedovs Woe from Wit in 1914, LeopoldSulerzhitski, Stanislavskis assistant, describesKonstantin Sergeevichs dream the wholetroupe doing exercises such as freeing themuscles, going into the circle4 for half anhour before rehearsal, as singers do vocalexercises, irrespective of what parts they aresinging.5 Stanislavski kept arguing for thisthroughout his career, as a result of which thewarm up has become established. Stanislavskis campaign, therefore, was toget performers to recognize the importanceof daily work on themselves and preparationfor performance, by means of the actorstoilette. Barba states thatthe revolution of the invisible, as he termsthe twentieth centurys discoveries of hiddenstructures in physics, sociology, and psy-chology, marked the age of exercises in thetheatre.3 That which is invisible gives life toacting the key to finding it is through actingexercises. Moreover his pioneering workin actor training came at the time when theidea of the need for exercises for the actorbegan to be widespread. With other art forms is one used by Stanis-lavski many times in order to justify the needfor practice. The voice and body ofthe artist must be cultivated on the basis ofnature itself.1 The voice and body of theactor are his/her apparatus or instrument,and must be trained, in the same way as themusician must train to use his/her instru-ment, by means of exercises.2 This equation Stanislavski wrote: External incarnation isimportant as it transmits the internal life ofthe human spirit.

Crucial to thisexploration were both Stanislavskis view ofincarnation i.e., the external training of theactors voice and physicality and the train-ing of inner mechanisms for generating emo-tion and communicating spiritual truths toan audience, which he termed experiencing.The two books translated into English byElizabeth Reynolds Hapgood as An ActorPrepares and Building a Character are called inRussian The Actors Work on Him/Herself PartOne: Work on the Self in the Creative Process ofExperiencing (AWHE) and Part Two: Work onthe Self in the Creative Process of Incarnation(AWHI). In order to do this he developed metho-dologies for training the actor. THROUGHOUT his life in the theatre Stanis-lavski sought to resolve central questions ofacting: how the actor can infuse a role withemotional and spiritual content, and how heor she can repeat a performance time aftertime without it becoming tired and mechani-cal. The Actor's Second Nature: Stanislavski and William James. The Actor's Second Nature: Stanislavski and William James Additional services for New Theatre Quarterly:

Stanislavski un actor se prepara pdf