Constantin Stanislavski

Konstantin Sergeyevich Stanislavsky, Konstantin Sergeyevich Alexeyev actually (Russian Константин Сергеевич Станиславский / Алексеев, scientific transliteration Konstantin Stanislavsky Sergeevič / Alekseev; * 5.jul / January 17 1863greg in Moscow, .. † August 7, 1938 ) was a Russian actor, director and theater reformer and representatives of naturalism.

Life and work

Konstantin Sergeyevich Alexeyev was born into a wealthy Russian family. He took the stage name Stanislavski in order not to jeopardize the reputation of his family.

Stanislavsky Nemirovich -Danchenko Vladimir founded the " Moscow Art Theatre " ( MCHAT ). Unlike the Stanislavsky Theater habits of his time sat through a very long sample period for his productions. Thus, it was possible to move away from the old role of the actors and subjects to make each role individually. Stanislavski 's production of Anton Pavlovich Chekhov's Seagull in 1898 became a model of its atmospheric drama style. Among the numerous theater actors who embodied theories of Stanislavski, Michael Chekhov is one example (also Mikhail Alexandrovich Chekhov ), a relative of Anton Pavlovich Chekhov.

Stanislavski sought a How - in - life - style on stage, even at the beginning of the 20th century, when he was attracted to symbolism. Early in his career, he took the view that an actor based on their own experiences and feelings ( " emotional memory " ) should largely identify with his role. After he had even failed with this claim, he led the " method of physical actions " that are making an inner experience in the way it should be possible via external actions. Later he united inner experience and outer expression to the " psycho-physical action."

On successful tours abroad, but recognized in the Soviet Union with reservations Stanislawski led a secluded life and avoided the confrontation with the regime.

Theory and Methodology

The " Stanislavsky System" is the result of his lifelong work as a drama teacher and director and had a decisive influence on the Stella Adler and Lee Strasberg's "method" ( method acting ). It should be a kind of compass aspiring actresses and actors. Stanislawski has left many unsystematic writings. The task book " Training and drills " he could not finish. His manuscripts were compiled and published after his death.

The discussions about the relationship of "I " and " role " on today. Currently dominates the Gitis in Moscow the doctrine that the "I" of the actor a kind of playful child, be an "artistic consciousness" which she identified with, regardless of the " private self" of the actor in the various circumstances. This subtle difference between self-expression and personal artistic approach provides material for discussion for decades.

The most famous phrase from Stanislavsky's theater theory is the "Like " or, in other translation, the "what if": The actor should find parallel situations from their own experience, not to embody the experience believable.

For Stanislavsky practical work with the prop was important. Logically, it is important that no theater evening from feeling the actor ago can run the same - with the help of a Requisites or a related "little action " the situation can be identical under certain circumstances, without the prevailing sentiment on this evening represent.

An example of Stanislavski game methodology is the practice with the tennis balls. Here, the actors speak during the scene but no text forms to be submitted to the statement by the type of ball to throw interlocutor.

Criticism

Stanislavsky was a child of the 19th century and could handle only limited with the Soviet leaders after the October Revolution. Above all, he resisted bold social criticism, which earned him the reputation of decadent bourgeois artist. The criticism of his student Vsevolod Meyerhold, who considered himself a Soviet theater practitioners, influenced about Bertolt Brecht.

Brecht later took the view that the actor must keep a critical distance to the visual image and his game specifically take the illusion so that the socially critical statement is paramount and (V effect). However, he had it can not take the writings of Stanislavski 's note ( which were not translated at this time), nor can see one of his directorial work. When he got the first genuine information about Stanislavsky shortly before his death, he began to revise his opinion. His firm rejection of Stanislavski centered mainly on the term of "empathy " that rejected Brecht strictly. What Brecht called the "empathy ", however, was not far removed from what Stanislavsky called " hysteria " and no less condemned.

Honors and Awards

Writings

The classics of actor training of the great teacher Stanislavsky are the work of the actor in yourself and the work of the actor in the role.

• My life in art. ISBN 3-89487-030-3. Vol 1: actor's work on himself in the creative process of experiencing. ISBN 3-89487-423-6.
• Vol 2: work of the actor in themselves in the creative process of impersonating. ISBN 3-89487-423-6.
• Vol 3 work of the actor in the role. ISBN 3-89487-423-6.

• Nemirovich -Danchenko, together with: Memories of Chekhov. Chekhov or the birth of modern theater. ISBN 978-3-89581-252-1.