Just an intro
Cath Rankin's List: theatre Practitioners
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Jan 08, 09
Stanislavski's system is an approach to acting developed by Constantin Stanislavski, a Russian actor, director, and theatre administrator at the Moscow Art Theatre (founded 1897). The system 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.\nContents\n\n * 1 Description\n * 2 Approaching acting\n * 3 The system versus the Method\n * 4 Progression of the system\n * 5 The Method of Physical Action\n * 6 Notes\n * 7 Bibliography\n\n[edit] Description\n\nThe system is based around an actor "living the part" but always staying one step away from complete belief. He felt that it is important that, whilst the actor should experience and show the emotions of the character, it is very important the actor still stay detached. The system was made as a flexible structure, a thing that actors may use as much or as little as they please in their rehearsals, and was intended to be modified for the individual.\n\nTechniques involve a "Round the table analysis" - a process in which the actor/s and director literally sit around a table and put forward their thoughts on the script and the characters until a clear understanding is formed. His "homework" involved breaking the script into sections of different "objectives." This would be different for each actor involved. The structure of the entire script would be roughly as follows:\n\nObjective - The final goal a character wants to achieve. (Often worded as "What do I want?" Note: Does not have to be achieved and can be as simple as you wish. E.g To pour a mug of tea.\n\nObstacle - Aspects that will stop or hinder that character achieving his or her objective. E.g There are no teabags in the tin.\n\nTools/Method (has many different names) - The different techniques that a character is going to use to achieve his objective. E.g Search around the kitchen, walk to the shops, call on the neighbour
- Good general overview of the system - Cath Rankin on 2009-01-08
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AUGUST STRINDBERG, Sweden's greatest dramatist, was born at Stockholm in 1849.
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Strindberg, judged by the great majority of his work, is a dramatist endowed with a trenchant and searching power of analysis and remarkable insight into human nature; his chief plays are exact though narrow views of the feminine soul. His own experience was so unfortunate that his bitterness takes the form of a wholesale indictment of the sex. So far as he goes, it must be admitted that he is in the main just, but he fails to observe a proper balance. In The Father, [Miss Julie], Creditors, and Comrades, he makes woman out a fiend incarnate. His greatest power lies in the portrayal of character, and the conflicts of human minds; he delights in showing ths superiority of one individual over another. The Father is a good example, but Creditors is perhaps the finest mental duel, so to speak, in the range of modern drama.
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