| Revision as of 18:56, 22 August 2006 view sourceWill Beback (talk | contribs)112,162 editsm Reverted edits by 66.98.131.107 (talk) to last version by Will Beback← Previous edit | Revision as of 17:41, 26 August 2006 view source ActorScholar (talk | contribs)14 editsNo edit summaryNext edit → | ||
| Line 47: | Line 47: | ||
| ==External links== | ==External links== | ||
| * | * | ||
| * | |||
| * | |||
| ] | ] | ||
Revision as of 17:41, 26 August 2006
 | This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Konstantin Stanislavski" – news · newspapers · books · scholar · JSTOR (Learn how and when to remove this message) |
Konstantin (Constantin) Sergejevitch Stanislavski (Stanislavsky) (Template:Lang-ru; January 5, 1863–August 7, 1938) was a Russian theatre and acting innovator.
Biography
Born Constantin Sergeievich Alexeyev in Moscow to a wealthy family, he made his first acting appearance at the age of seven. He took the stage-name Stanislavski early in his career (possibly to preserve the reputation of his family.) In some translations, his name is written "Konstantin Stanislavski".
In 1888, Stanislavski established the Society of Art and Literature at the Maly Theatre, where he gained experience in aesthetics and stagecraft.
In 1897 he co-founded the Moscow Art Theatre (MKhAT) with Vladimir Nemirovich-Danchenko. One of the company's first productions was Anton Chekhov's The Seagull. It was at MKhAT that Stanislavski began developing, based on the realist tradition of Aleksandr Pushkin, his famous "System" (often called the "Method", though this is an inaccuracy; method acting was developed from it). "The System" would later be adapted by Lee Strasberg, Stella Adler, Robert Lewis, Sanford Meisner, and many others in the United States. Stanislavski's System focused on the development of realistic characters and stage worlds. Actors were instructed to utilise their "Affective Memory" in order to naturally portray a character's emotions. In order to do this actors were required to think of a moment in their own lives when they had felt the desired emotion and then replay the emotion in role in order to achieve a more genuine performance.
Stanislavsky's Method developed a systematic approach to training actors to work from the inside outward.
Stanislavsky proposed that actors study and experience subjective emotions and feelings and to manifest them to audiences by physical and vocals means, also known as Theatre language.
Stanislavski survived both the Russian Revolution of 1905 and the Russian Revolution of 1917, with Lenin apparently intervening to protect him. In 1918, Stanislavski established the First Studio as a school for young actors and wrote several works: those available in English translation include: An Actor Prepares, Building a Character, Creating a Role, and the biography My Life in Art.
Fictional references
Mikhail Bulgakov satirized Stanislavski through the character Ivan Vasilievich in his novel Black Snow (also called "The Theatrical Novel"). (It is probably no coincidence that Ivan Vasilievich was the name and patronymic of the notorious sixteenth-century tsar Ivan the Terrible.) In Bulgakov's novel, Ivan Vasilievich is portrayed as a great actor, but his famous acting "method" is held up as a farce, in fact often hindering actors' performances through ridiculous exercises. Bulgakov's cutting portrait of Ivan Vasilievich likely reflects his frustrating experiences with Stanislavski during the latter's eventually aborted production of Bulgakov's play A Cabal of Hypocrites in 1930-1936. While this depiction of Stanislavsky is in stark contrast to most other descriptions, including those of Westerners who had met him, it should be noted that Bulgakov and Stanislavski were otherwise good friends.
"he was a wonderful actor who contributed to the world of Drama like no-one else in the past 5 decades" Thomas De Angelis President of the North Carolina Acting Asscociation 1976-82
Differences between Stanislavski's System and Lee Strasberg's Method
Stanislavski's System can also be called the Method of Physical Action which differs from Lee Strasberg's Method which is heavy influenced by "Affective Memory". Stanislavski had different pupils during each of the phases of discovering and experimenting with a Universal Method of acting. One such student, Richard Boleslavsky founded the American Laboratory Theatre in 1925. It had a tremendous impact on American acting, with Lee Strasberg as its head. Boleslavsky had been in Stanislavsky's phase when experimenting with Affective Memory. Stanislavski theory later evolved to rely on Physical Action inducing feelings and emotions. Affective Memory is applied in Stanislavski's System but not as much so as in Lee Strasberg's Method.
Stella Adler, the only American to study with Stanislavski, was taught the Method of Physical Action in Paris for 5 weeks in 1934. With this new knowledge she came to Strasberg and introduced to him the new System/Method of Physical Action. Lee Strasberg understood the differences but rejected the Method of Physical Action. He believed that acting was recollection of emotion. Hence Adler stated about Strasberg "He got it all wrong."
Stanislavski died in 1938 so between 1934 when he met Stella Adler and 1938 he still discovered and reinforced new things to his System.
It is important to remember that Stanislavski always thought of his system as if it were a table of contents for a large book which dealt with all aspects of acting. His final work, now known as The Method of Physical Actions, is in no way a rejection of his early interest in sense and affective memory. At no time did he ever reject the notion of emotion memory; he simply found other means of accessing emotion, among them the absolute belief in given circumstances; the exercise of the imagination; and the use of physical action.
This is actually not true. What Stanislavski discovered was that for the most part - sense memory and affective memory, rather than freeing the actor, all too often produced negative results. It made actors tense, exhausted and hysterical, and quite often would cause the actor to emotionally freeze. In his later writings he believed that any attempt to evoke feelings should be avoided.
Legacy
The long winding road starting with Stanislavski's system leads to such actors as Jack Nicholson, Marilyn Monroe, James Dean, Marlon Brando, Montgomery Clift, Harvey Keitel, Steve McQueen, Paul Newman, Warren Beatty, Geraldine Page, Dustin Hoffman, Robert De Niro, Al Pacino, Jane Fonda, and many more. More recently it's Benicio Del Toro, Mark Ruffalo, Johnny Depp, and Sean Penn.
Charlie Chaplin said, "Stanislavki's book, An Actor Prepares, helps all people to reach out for big dramatic art. It tells what an actor needs to rouse the inspiration he requires for expressing profound emotions."
Sir John Gielgud said, "This director found time to explain a thousand things that have always troubled actors and fascinated students." Gielgud is also quoted as saying, "Stanislavski's now famous book is a contribution to the Theatre and its students all over the world."
Stanislavski's goal was to find a Universal Method/System that could help the actors. To sum up everything, Stanislavsky said about his System, "Create your own method. Don't depend slavishly on mine. Make up something that will work for you! But keep breaking traditions, I beg you."