Stanislavski Essay, Research Paper

Stanislavski Constantin Stanislavski was born on January 17th 1863, in Moscow.Stanislavski evolved his ain system of fixing dramas which resultedin singular ensemble playing. After he finished school, Stanislavski did non like the melodramaticstyle of moving which was popular in Russia, and throughout the restof the universe. Stanislavski met with a successful dramatist and teacherof theater, called Vladimir Nemitovich & # 8211 ; Danchenko to discourse ways ofchanging Russian theater. They met on 22 June 1897. After thismeeting they formed the Moscow Art Theatre, which was establishedwith the purpose of happening new truth and pragmatism in theater. In 1906 he began to develop a system for developing histrions. He was besides working as an histrion and a manager at this clip. In 1913 he setup an experimental theater designed to develop moving techniques, called First Studio. On 29th October 1928 Stanislavski had a bosom onslaught. This forced him to give up moving, but he was able to concentrate on directing, learning and composing for the remainder of his life. This method had a scientific attack and was developed over many old ages of test and mistake. It requires an histrion to see the feeling of populating the life of another individual. The footing of his attack was that histrions must believe everything that was go oning on phase.


ski made this possible by teaching actors to recall their ownfeelings and experiences. It aims first at getting the actor to arouse theemotions they have felt in the past. This can then be transformed intothe character they are portraying. Observation was another important aspect of Stanislavski’s teaching. Hethought it helped actors to learn more about people and theirbehaviour. He believed the more an actor observed, the more theylearnt. Another very important part of Stanislavski’s teachings is a simplequestion. ‘What if?’. Stanislavski called this the ‘magic if’. This technique was designed to make the actor ask ‘what if I was in thissituation’. If the actor feels this is real, it automatically becomesrealistic for the audience, and this was Stanislavski’s aim. Stanislavski aimed to produce dramatic characterisations of great realism and psycological truth. He demanded a lot from his students,such as intelligence, complete self discipline, perfect control over voice,diction, physical movement and the ability to experience a whole rangeof human emotions from his actors. He expected actors to analysecompletely their characters so they could understand why they behavedthe way they did. He instructed all his actors to analyse themselves aswell as the characters. Stanislavski developed a style of realism which still influences playsand actors all over the world.

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