* We were asked to prepare a 5 minutes presentation about different topics about Stanislavski's life. I decided to do about 'what influenced and motivated stanislavski' because I wanted to see what made him to make this system. I also included the a brief description of his system, for us to understand better what it is talking about. The presentation was prepared by Blair and Me.
How did everything begin?
How did everything begin?
l In 1977, when Stanislavski was 14, he played in a performance of two plays directed by his tutor.
l In the first play, he was very relaxed and excited, and based his performance
on a famous actor.
l Stanislavski thought that he made a brilliant performance, but he was inaudible and
l Stanislavski thought that he made a brilliant performance, but he was inaudible and
he acted badly.
l In the second play, which gave him troubles in rehearsals, he acted much better.
l Stanislavski couldn’t understand the contradiction between what he thought and what the audience experienced.
l As a response to that, Stanislavski decided to keep a notebook in which he recorded his impressions, analyzed difficulties and found solutions.
Background
l In the second play, which gave him troubles in rehearsals, he acted much better.
l Stanislavski couldn’t understand the contradiction between what he thought and what the audience experienced.
l As a response to that, Stanislavski decided to keep a notebook in which he recorded his impressions, analyzed difficulties and found solutions.
Background
l In 1885 Stanislavski studied in the Moscow Theatre School. Students were expected to follow the instructions and conventions of their tutors
l Stanislavski was dissapointed by this approach, and he went to study in the Maly Theatre, where he larned to appear fresh during performances, and extract energy from the stage players
This approach suited him better because he wanted to really understand how to behave on stage and not only to follow instructions. He knew that he should create rather than imitate.
Important figures in his life
He learned it from foreign artists, such as:
- Salvini
- Duse
Stanislavski believed that both Salvini and Duse are powerful, showed graceful movements and perfection.
Shchepkin and Gogol:
They both worked together in the Maly Theatre a generation before Stanislavski.
Stanislavski gained from them the approach that acting should be simple, real and natural
Fedotov;
In 1888 Stanislavski was in Fedotov’s production and he was very cliché and stereotypical in the rehearsal.
Fedotov took him apart and demonstrated every move of Stanislavski. In the end, Stanislavski gave a good, truthful performance.
Stanislavski’s System: “It is the result of Stanislavski's many years of
efforts to determine how a human being can
control in performance the most intangible and
uncontrollable aspects of human behavior:
such as emotions, and artistic inspiration.”
Psychology
Though his approach changed greatly throughout his life, he never lost sight of his ideals: truth in performance and love of art.
One of Stanislavski's methods for achieving the truthful pursuit of a character's objective was his 'magic if'. Actors were required to ask many questions of their characters and themselves. One of the first questions they had to ask was, "What if I were in the same situation as my character?" The "magic if" allowed actors to transcend the confines of realism by asking them what would occur "if" circumstances were different, or "if" the circumstances were to happen to them.
Stanislavski’s ‘System’ was influenced a lot because of psychology, because it was based on the way our mind works.
Stanislavski studied the work of Ribot, a prominent psychologist. Here he learned the notion of affected memory, which later developed into emotion memory. This is the concept that it is possible to recreate past events and relive past emotions vividly.
Social Context
Stanislavski viewed theatre as a medium with great social and educational significance.
Although always unintentional, Stanislavski’s theatre often reflected ‘real world’ current social issues. This was very apparent during the civil unrest leading up to the first Russian revolution in 1905. Lenin offered Stanislavski his personal protection during the violence of the revolution. After the Soviet union was established, his theatre began to produce plays containing Soviet propaganda.
Significant Students
Vsevolod Meyerhold - Russian theatrical producer,
director and actor whose dealing with physical being
and symbolism in an unconventional theatre.
one of the seminal forces in modern theatre.
One of Stanislavski's methods for achieving the truthful pursuit of a character's objective was his 'magic if'. Actors were required to ask many questions of their characters and themselves. One of the first questions they had to ask was, "What if I were in the same situation as my character?" The "magic if" allowed actors to transcend the confines of realism by asking them what would occur "if" circumstances were different, or "if" the circumstances were to happen to them.
Stanislavski’s ‘System’ was influenced a lot because of psychology, because it was based on the way our mind works.
Stanislavski studied the work of Ribot, a prominent psychologist. Here he learned the notion of affected memory, which later developed into emotion memory. This is the concept that it is possible to recreate past events and relive past emotions vividly.
Social Context
Stanislavski viewed theatre as a medium with great social and educational significance.
Although always unintentional, Stanislavski’s theatre often reflected ‘real world’ current social issues. This was very apparent during the civil unrest leading up to the first Russian revolution in 1905. Lenin offered Stanislavski his personal protection during the violence of the revolution. After the Soviet union was established, his theatre began to produce plays containing Soviet propaganda.
Significant Students
Vsevolod Meyerhold - Russian theatrical producer,
director and actor whose dealing with physical being
and symbolism in an unconventional theatre.
one of the seminal forces in modern theatre.
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