Including the Formative Essay on Active Analysis by Maria Knebel
Author: James Thomas
Pubpsher: Bloomsbury Publishing
A Director's Guide to Stanislavsky's Active Analysis describes Active Analysis, the innovative rehearsal method Stanislavsky formulated in his final years. By uniting 'mental analysis' and 'études', Active Analysis puts an end to the problem of mind-body dualism and formalized text memorization that traditional rehearsal methods foster. The book describes Active Analysis both practically and conceptually; Part One guides the reader through the entire process of Active Analysis, using A Midsummer Night's Dream as a practical reference point. The inspiration here is the work of the Russian director Anatoly Efros, whose pioneering work led the way for a reawakening of theatre in post-Soviet Russia. Part Two is the first English translation of Maria Knebel's foundational article about Active Analysis. Knebel was hand-selected by Stanislavsky to carry his final work forward in unadulterated form for succeeding generations of directors and actors. A Director's Guide to Stanislavsky's Active Analysis provides the first detailed explanation of Active Analysis from the director's perspective, while also meeting the needs of actors who seek to enhance their creative involvement in the process of play production.
Script Analysis for Actors, Directors, and Designers, Sixth Edition teaches the skills of script analysis using a formalist approach that examines the written part of a play to evaluate its potentials for performance and production. This new edition offers a more streamlined experience for the reader and features new and revised content, such as a fully updated chapter on postmodern drama, new sections on Associative Thinking and Ambiguous Terms in the Introduction, and revised appendices featuring The Score of a Role and expanded treatments of Functional Analysis for Designers and Further Questions for Script Analysis. Explorations of both classic and unconventional plays are combined with clear examples, end-of-chapter summaries, and stimulating questions that will allow actors, directors, and designers to immediately incorporate the concepts and processes into their theatre production work. An excellent resource for students of Acting, Script Analysis, Directing, and Playwriting courses, this book provides the tools to effectively bring a script to life on stage.
What did modern theatre in Russia look like and how did it foreground tradition building and transmission processes? The book challenges conventional historiographical approaches by weaving contemporary theories on cultural transmission into its historical narrative. It argues that processes of transmission – training spaces, acting manuals, photographic evidence, newspaper reports, international networking, informal encounters, cultural memories – contribute to the formation and consolidation of theatre traditions. Through English translations of rare Russian sources, the book expounds on: *side-lined material on Stanislavsky, including his relationship with German actor Ludwig Barnay, use of improvisation at the First Studio, and rehearsal practices for Artists and Admirers (1933); *Valentin Smyshlaev's acting manual The Technique to Process Stage Performance and the creation of hybrid practices; *proletarian theatre as an amateur-professional combination and force in the transformation of everyday life, as seen in the Proletkult's volume Art at the Workers' Clubs; *Meyerhold's Borodin Studio as an early example of Practice as Research, his European tour of 1930, and international persona as depicted in newspapers published in the West; and *Asja Lacis's work with children, which contributes to current efforts to address the gender imbalance that is often characteristic of modernism. This historical-theoretical investigation is combined with practical exercises that provide a more experiential understanding of the modern performance realities involved. In this way, the book speaks not only to theatre scholars and historians, but also to students and practitioners engaged in practical work.
This compact, well-illustrated and clearly written book offers an essential guide to the complex and contradictory nature of this master of theatre. Routledge Performance Practitioners are a series of introductory guides to key theatre-makers. These compact, well-illustrated and clearly written books will unravel the contribution of modern theatre's most charismatic innovators. This is the first book to combine: - an overview of Stanislavsky's life history - an assessment of his widely read text, An Actor Prepares - detailed commentary of the key 1998 production of The Seagull - an indispensable set of practical exercises for actors, teachers and directors. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners are unbeatable value for today's student.
A guide to Psycho-Physical Acting, complete with games and exercises.When Stanislavsky died, he was working on a new system, Psycho-Physical Acting. Previously he had taught that truthful performance can only spring from the actor's imagination (the Method). Late in life, Stanislavsky realised that physical actions can induce emotions just as much as the other way round.Though well-known - and much taught - in Russia, Psycho-Physical Acting is in its infancy in the West. Bella Merlin has studied under three of the best teachers in Russia; this book is the fruit of her time there.'This is a book which is vital both to practitioners and to all serious students of the theatre' Max Stafford-Clark'A seminal book for today... an outstandingly lucid account... essential reading' Simon CallowChapter 1: Putting You in the Picture. A resume of Stanislavsky's various work methods, with glances at Michael Chekhov and Grotowski.Chapter 2: Working on Your Self. Fine-tuning both body and psychology to yield vitality and spontaneity on stage.Chapter 3: Working in the Ensemble. Building a powerful and trusting environment within an ensemble.Chapter 4: Working on Your Role. The Method of Physical Actions and Active Analysis in the rehearsal room - with application to texts from Shakespeare, C.S. Lewis, Pinter and Dostoyevsky.Chapter 5: Putting it into Practice. Implementing the new techniques as (a) a professional actor; (b) a workshop leader; and (c) a director.
A practical, hands-on guide to Stanislavsky's famous 'system' and to his later rehearsal processes - for actors, directors, teachers and students. From the author of Beyond Stanislavsky.The Complete Stanislavsky Toolkit collects together for the first time the terms and ideas developed by Stanislavsky throughout his career.It is organised into three sections: Actor-Training, Rehearsal Processes and Performance Practices. Key terms are explained and defined as they naturally occur in this process. They are illustrated with examples from both his own work and that of other practitioners.Each stage of the process is explored with sequences of practical exercises designed to help today's actors and students become thoroughly familiar with the tools in Stanislavsky's toolkit.
Barton's humorous and conversational writing style makes this a particularly student-friendly text. Students learn all phases of actor training, including scene study, auditioning, observation, and mind, voice and body relaxation techniques. The use of examples from daily life instead of dramatic literature makes it possible to have meaningful class discussions when all students have not read the same plays.