• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Konstantin Stanislavski.

Extracts from this document...


Konstantin Stanislavski Stanislavski was born in Moscow in 1863 and died in 1938. He was a Russian actor and Director also an author of the books An Actor Prepares (1936) and Building Character (1948) Stanislavski created a performance technique that had an enormous effect on contemporary American acting, and he developed a system of actor training that became widely accepted throughout the world. Acknowledged as the most influential personality of Russian theatre, Stanislavski confounded the Moscow Art Theatre which was regarded as one of the world's outstanding theatre companies. Stanislavski was the son of wealthy Manufacturer and was given great financial backing for his amateur theatrical ventures. From 1907 until his death, Stanislavski devoted himself to developing a revolutionary system of actor training. His productions were mostly experiments in this process. He quickly applied what he learned to main stage work. Stanislavski discovered that actors who recalled their own feelings and experiences and substituted them for those of their characters were able to achieve a special link with the audience. ...read more.


Before the realistic drama of the late 1800s, no one had devised a method for achieving this kind of believability. Through their own talent and genius, individual actresses and actors had achieved it, but no one had developed a system whereby it could be taught and passed on to future generations. The person who did this the most successfully was the Russian actor and director Konstanin Stanislavski. To insure that the actor/actress was to be in character they had to follow these points: 1. To make the outward behaviour of the performer - gestures, voice, and the rhythm of movements- natural and convincing. 2. To have the actor or actress convey the goals and objectives-the inner needs of a character. Even if all the visible manifestations of a character are mastered, a performance will appear superficial and mechanical without a deep sense of conviction and belief. 3. To make the life of the character onstage not only dynamic but continuous. Some performers tend to emphasize only the high points of a part; in between, the life of the character stops. ...read more.


When the performer has established a strong circle of attention, he or she can enlarge the circle outward to include the entire stage area. In this way performers will stop worrying about the audience and lose their self-consciousness Action Onstage What? Why? How? An important principle of Stanislavski's system is that all action onstage must have a purpose. This means that the performer's attention must always be focused on a series of physical actions linked together by the circumstances of the play. Stanislavski determined these actions by asking three essential questions: What? Why? How? An action is performed, such as opening a letter (the what). The letter is opened because someone has said that it contains extremely damaging information about the character (the why). The letter is opened anxiously, fearfully (the how), because of the calamitous effect it might have on the character. These physical actions, which occur from moment to moment in a performance, are in turn governed by the character's overall objective in the play. All these techniques helped the actors prepare for there roles and perform ten times better on stage then they would have. Aime Laws 12KGG Mrs Hayes 1 ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Theatre Studies section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Theatre Studies essays

  1. The Caucasian Chalk Circle - Exploration Notes

    of motherly tenderness for the child, and even though she's not supposed to ("Like booty she took it for herself") she takes him and cares for him anyway. From this point onwards, she develops a seemingly faultless, headstrong determination - she's now incredibly poor, on the run from the army,

  2. The Devising Process

    Furthering this, as the crescendo was followed by a sharp silence while the crowd watched waste fall on an unsuspecting victim, it created not only a climax, but also, comedy. Using ideas of naturalism, we strove to create characters that were contemporary to the time of the piece.

  1. Drama and Theatre Studies structured records

    character simultaneously performing one action, we therefore, took inspiration from the over exaggerated nature of each movement. Instead of using a routine we highlighted a sense of artificiality by introducing a metronome to emphasise the mechanical and artificial nature of the scene.

  2. Konstantin Stanislavski (1863 - 1938)

    By the time Konstantin was born, the Alexeyev business of gold and silver thread production had made the family name well known throughout the world. The family also organized a theatre group called the Alexeyev Circle. Throughout his ascent to a major role on the stage, Konstantin maintained obligations to

  1. Temptation piece. We were asked to think about temptation, and discuss what we were ...

    She believes that she has raised Kate as well as she possibly can, and now she must choose her own path in life. We thought that by giving this character such an honest, loving personality, we would be emphasizing how wrong it was to steal from her.

  2. Contrasting Lee Breuer and Stanislavski productions

    By contrast, Breuer's Dollhouse shuns this realism; in true Brechtian tradition, we are constantly reminded of the theatricality of what we are seeing. For example, before the play begins in earnest, a pianist crosses the stage, bows to applause, and positions herself at a keyboard just below downstage left.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work