Konstantin Stanislavski, born as Konstantin Sergeievich Alexeiev was one of Russia’s great actor/directors, born in 1863. Through theatre work his most famous aspect was his great struggle to find the perfect system approach towards acting. It was his great passion for the arts and in particular theatre that inspired him to strive to refine and remake his system until he died in 1938. [1] Stanislavski was born into a rich family which ran a gold and silver processing factory designed mainly for military uniforms. As a privileged member of society Stanislavski was introduced to the arts at an early age with his family even owning their own home theatre.
The Stanislavski System was created in the 1933, a few years before Stanislavski passing in 1938. In the system, Stanislavski shifted from the ‘heavy’ use and reliance of the emotional memory, which called for the actors to put themselves in the mindset of of the character's situation, so that they genuinely experience the feelings of intense sadness or happiness, to the use of the ‘Method of Physical action’, which will be expanded further in the paragraphs coming. In Stanislavski’s Methods performers were advised to use their personal memories and draw upon a comparable life experience, although this method revolutionized acting, it focused almost entirely upon the idea of Affective Memory. This lead to a very small
This convinced him to seek a new career in clinical psychology. After being awarded a PhD in clinical Psychology from Columbia and having published articles (prior to his PHD) he came to believe that psychoanalysis was the deepest and most effective form of therapy. However after personal analysis and supervision by Richard Hulbeck, Ellis;s belief in psychoanalysis was beginning to wane. By 1953 Ellis was referring to himself as a rational therapist. He now championed a new more active and directive type of psychotherapy which he refereed to as Rational Therapy (RT).
Theatre Practitioners and Theatre Styles | Drama Assessment task | Konstantin Stanislavski Konstantin Stanislavski, born in Russia in 1863 was a well know author and producer, co-finder of the Moscow theatre and a practitioner of realism but he is most famous for producing the first dramatic process known as the Stanislavski System. Stanislavski first drafted the system of techniques in 1909 after watching a variety of actors and the similarities between them. He decided that he would trail some of his techniques with the Moscow Theatre actors, and from this the first theatre was formed where Stanislavski's techniques being experimented with. Even when Stanislavski's techniques were becoming successful in the Moscow Theatre, Stanislavski decided that he would reformulate his techniques. These techniques, addressing the realistic style of theatre, were named the Stanislavski’s System; and because of his students teaching others Stanislavski’s ways these realistic techniques soon became an international teaching.
Paul Taylor “He’s been dancing since before he could walk!” A saying that lots of proud parents brag about their children. Paul Taylor’s parents however, thought that their son wanted to be a visual artist and had know idea that one day his name would be synonymous with one type of American dance. Today, at 77, Paul Taylor may be the most sought-after choreographer working today, commissioned by leading companies, theaters and presenting organizations the world over. Taylor was born July 20th, 1930, in Edgewood Pennsylvania. After growing up in Depression-era America in and around Washington, D.C., Taylor studied painting at Syracuse University.
Konstantin Stanislavski Constantin Sergeyevich Alekseyev was a Russian theatre director, teacher, and actor. As a young boy Stanislavski’s many interests included the ballet, the circus, puppetry and theatre but His father was a very, very wealthy man, which meant that it was unimaginable that he could ever be a professional actor, as actors were ranked very low in social status. In 1877 his farther built a theatre for the entertainment of his family and friends, it was there that Stanislavski made his debut performance under the stage name of Konstantin Stanislavski. In 1897 Stanislavski teamed up with Vladimir Nemirovich-Danchenko to create the world renowned Moscow Art theatre, which he was linked to for the rest of his life. The pair decided to create this theatre as they both believed that the modern condition of theatre was, in Stanislavski’s words ‘hopeless’ with ‘clichéd traditions’ and ‘ham acting.’ As a director, Stanislavski made very big emphasis on the fact that his students should act together as a group rather then going off and doing their own thing.
c. He worked as a writer, actor, and producer with small theatre companies and then serves as a teacher. d. THESIS STATEMENT: Even though William Golding has a screwed up childhood, he changed his ways and ended up being honored. II. Writing a. William Golding First started publishing his writing when he was 23 years old. • Some of the work he wrote were plays, essays, reviews, short stories, and a travel book about Egypt.
He drew copious inspiration from his radio. Terrence McNally took his afflatus and constructed a model of the opera. His scenes were regarded as “more than real life.” (McNally) An extensive body of work has stemmed from Terrence McNally’s early musings. Because his parents, Dorothy Rapp McNally and Hubert Arthur were native New Yorkers, Terrence was introduced to theatre from a young age. Eventually, he enrolled in Columbia University as an English major.
Antonin Artaud: A Theatre of Impossible What he bequeathed was not achieved works of art but a singular presence, a poetics, an aesthetics of thought, a theology of culture, and a phenomenology of suffering. (Finter and Griffen, 1997: xx) Antonin Artaud, a highly influential twentieth century theatre practitioner, is studied at A-level throughout the country. Pupils dedicate their summative grades to an understanding and analytical consideration of his theories which to some are inspired and revolutionary yet to others are nebulous and antithetical. Susan Sontag (1988: xxv) highlights in Antonin Artaud, Selected Writings that his ‘…inexhaustible paradox is mirrored in [his] wish to produce art that is at the same time anti-art’. In their article Antonin Artaud and the Impossible Theatre: The Legacy of the Theatre of Cruelty, Helga Finter and Matthew Griffin (1997) recount Artaud’s 1947 performance at the Vieux Colombier where he recited his life story from a manuscript.
“Japanese Theater” On our trip to the Japanese workshop I learned many things about Japanese culture and theater In particular Noh. The word “Noh” literally means “accomplishment,” “talent” or “skill. “Noh”, Created in the fourteenth and fifteenth centuries and climaxed in the 1400s, is a highly stylized, abstract, and philosophical Japanese dramatic form that emphasizes the spiritual aspects of human action and emotion. Noh plays are somber performances that combine elements of dance, drama, music, poetry, and wooden masks into a very creative and ritualized stage performance. The plays are distinct too by emotional intensity and crisis, with the trials of human emotional and supernatural experience developed in slow, mystical rhythms.