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Constantin Stanislavski, 2007.
A critical analysis of the changes and developments in the methods and theories of Constantin Stanislavski.
3,566 words (approx. 14.3 pages), 15 sources, MLA, $ 99.95
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Abstract
This paper discusses the theories and methods for acting that were devised by actor Constantin Stanislavski throughout his life. It provides a brief timeline of his life's work which demonstrates the variety of work he did and the multinational nature of his craft. It also establishes a context for which to look at the evolution of his system and practice.
From the Paper
"Though it is often difficult to demonstrate a diagram or picture of the inner workings of the mind Stanislavski is often credited with coming closer than almost any other dramatic theorist, but once again clarity might have been reached to a greater or lesser degree if he had lived a more complete life and had the opportunity to compile his works in the manner that befitted his years of theatrical experiences. Often these actions that are consistent with the Stanislavski methodologies are not written, in dialogue or scene development and can be seen as demonstrative of the actor's improvisation, which in its own right can be contraindicated by the playwright or director, depending on their own vision. Which of coarse demonstrates a possible incongruence in the two methods, yet Stanislavski's intention was for the theater to be and remain an actor driven institution, hopefully without the ego often associated with the role of actor, as can be seen in earlier expressions of the Stanislavski standard, in this work."
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Constantin Stanislavski, 2002.
This paper discusses Constantin Stanislavski, the father of modern acting theory, and his technique.
935 words (approx. 3.7 pages), 2 sources, MLA, $ 33.95
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Abstract
This paper discusses the modern acting methodology created by Constantin Stanislavski and his follower, another great acting teacher, Uta Hagen. The paper details many elements of Stanislavski?s theory such as the core concept of the ?creative objective?: A character?s objective on the simplest level is what the character wants. The author points out that the modern actor would never go into a play without having an understanding of his or her character?s relationships with other characters.
From the Paper
"The ?magic if? technique essentially places the actor in a situation wherein he or she may use the imagination to develop the appropriate emotions. For example, an actor may have never tried out for the football team, but he is playing a character that has just been cut from the team. The actor may not know what that feels like; but, by employing the ?magic if?, he can place himself in that position. In other words, as the actor prepares he might say to himself: ?It?s as if I walked up to look at the cast list and saw that I?d been cut or not cast.? Through the use of ?if,? an actor can find similar emotions."
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Stanislavsky, 2002.
Explores how Russian history influenced the theories of Constantin Stanislavsky and Russian theater in general.
1,754 words (approx. 7.0 pages), 10 sources, MLA, $ 56.95
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Abstract
Constantin Stanislavsky is the father of modern acting theory. His theories which he extols in his four books, "My Life in Art" (1924), "An Actor Prepares" (1936), "Building a Character" (1941) and "Creating a Role" (1961) have had an unparalleled effect on actors and acting instructors throughout the world. Acting theorists such as Vsevelod Meyerhold, Uta Hagen and Bertold Brecht have all taken his theories into account while developing their own. Indeed, entire movements in world drama have been in part inspired by the work of Stanislavsky.
This paper focuses on Stanislavsky's influence on Russia. During his life and his career, Russia went through many changes. Two major events in Russian history would determine the fate of theatre and as a result Stanislavsky. The first was the failed revolution in 1905, or ?The Great Rehearsal,? as Lenin called it. The second major event which affected Stanislavsky (which in turn affected Russian theater) was the 1917 revolution.
From the Paper
"Konstantin Stanislavsky developed the Moscow Art Theatre in 1898. The creation of this particular theatre was important in that it differed from many of the other theatres of the time. It was a fully professional theatre organization and it emphasized new plays as opposed to older work. Stanislavsky believed that new plays would bring the theatre to life. His theatrical philosophy was that the actor was an educator and that plays were tools of education. As a result the initial work produced at the theatre was not successful. It wasn?t until Stanislavsky partnered with a young playwright named Anton Chekhov that the theatre attained any commercial success."
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Emperor Constantine's Christianity, 2003.
An examination of Constantine's conversion to Christianity.
1,452 words (approx. 5.8 pages), 2 sources, APA, $ 48.95
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Abstract
The reasons for and the nature of Constantine?s commitment to Christianity is a complicated issue. By examining Eusebius?s "Life of Constantine", his "Edict of Milan", the laws of Constantine as found in the Codex Theodosius, his architectural undertakings, and the coins he issued, this paper shows that Constantine devoted himself to Christianity because he believed the Christian god afforded his victory at Milvian Bridge. However, through these sources the writer also reveals that the nature of his commitment originally was not of a genuine belief in Christian theology, but rather more of a vague monotheism.
From the Paper
"When Constantine decided to march against Maxentius in Rome, Eusebius explains that Constantine sought the assistance from a god, knowing that he would need a ?more powerful aid than an army can supply because of the mischievous magical devices practiced by? Maxentius. Eusebius then describes that Constantine had sworn an oath that he had seen a trophy in the shape of a cross resting above the sun with ?By this conquer? attached to it. During the night, God had appeared in his dream with the same trophy, urging him to make a replica and use it as protection against the enemy. Baffled by these events, ?those expert in his words,? members of the clergy, enlightened him about the Christianity of his signs; so, Constantine became ?determined to worship no other god than the one who had appeared.? "
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Constantine's Role in the Shaping of the Catholic Church, 2002.
A history of Constantine, and his important role in shaping the Catholic Church in both history and as we know it today.
956 words (approx. 3.8 pages), 3 sources, MLA, $ 33.95
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Abstract
This paper explains the persecution of the Christian minority before Constantine, and how he led them to become the Emporer's favored people and a recognized religion that no longer needed to practice in fear. The paper focusses on the growth of Catholicism and Constantine's crucial role.
From the Paper
"The first recorded persecution of the Christian people perpetrated by the Roman Government was in the year 64 AD. Nero was Emperor and he saw the Christians as both threatening and blasphemous to the Roman Empire. At that time, the Christians were seen as threatening by the other Romans because they would not partake in pagan rituals. Because the Christian Gospels opposed idolatry, and their First Commandment clearly ordered their followers to accept no others gods, it basically insisted that the Roman gods be rejected. Beginning in the third century, Edicts were composed by the Emperor and entailed persecution of the Christians. The Christians that would not pay public homage to the Roman gods were subject to torture and death at the hands of the rulers. In the early fourth-century, Diocletian was the main threat to the Christians; he ordered all of their books and places of worship to be burned. In addition, Christians were not allowed to congregate and were omitted from the protection of laws. However, all of this would end in 311 when Galerius issued a decree that allowed Christians to continue with their religious practices. These liberties were temporarily halted when Galerius died and Maximinus Daia once again ordered for the persecution of the Christians. Soon after though, Constantine was named Emperor after his father's demise. With Constantine's ascent to Emperor, the Christian people breathed a sigh of relieve; they knew that they would no longer be a minority people and fear persecution."
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Constantine's Conversion, 2004.
An analysis of the Roman Emperor Constantine's conversion to Christianity.
1,082 words (approx. 4.3 pages), 3 sources, MLA, $ 37.95
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Abstract
This paper discusses the mysterious story behind the Roman Emperor Constantine's conversion to Christianity. The paper explains that due to the lack of historical evidence, there are many speculations surrounding his conversion. The paper contends that one of the most commonly accepted facts is that Constantine saw something when he looked up at the sun that caused him to convert to Christianity.
From the Paper
"The Roman Emperor Constantine's conversion to Christianity is a story filled with intrigue and mystery. Due to the lack of historical evidence, many speculations arise from his conversion. One of the most commonly accepted facts is that Constantine certainly saw something that day in 312 when he looked up at the sun. Some believe that he did see a sign from God. Others believe that Constantine saw ice crystals in the sun's rays. What he saw we will never know but what he did after his vision changed the course of Western history and there can be no doubt that Constantine credited his vision as a sign from the Christian God."
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Herod the Great and Constantine, 2002.
Comparative analysis of the leadership of Herod the Great and Constantine.
1,900 words (approx. 7.6 pages), 2 sources, $ 71.95
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Abstract
Thisessay compares Herod and Constantine as builders and shapers of Jerusalem. The author examines how the Jewish king and the Christian emperor used and/or abused religion in their respective actions and policies.
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Constantine, 2005.
An essay surrounding the mystery of Roman Emperor Constantine s vision at the Battle of Nilvian Bridge.
1,125 words (approx. 4.5 pages), 4 sources, APA, $ 39.95
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Abstract
This essay discusses the reign of Roman Emperor Constantine and how his defeat of Maxentius at the Battle of Milvian Bridge was what was ultimately responsible for the rise in power of the Church of Christ.
From the Paper
"The life rule and leadership of Christianity by Constantine continue to be surrounded in controversy and mystery. Constantine was born to Constantine Chlorus and his wife Helena in Naissus, a location south of the Danube. Constantine's father was the Augustus of the West and when he died his son succeeded him. As a Roman Emperor, Constantine faced a world of military conflict and political strife that often pitted government against church. During the battle for Rome Constantine defeated Maxentius at the Milvian Bridge..."
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Constantine as a Christian Emperor, 2004.
A discussion on Constantine's religious beliefs and whether he can be considered pagan or Christian for most of his rule.
2,076 words (approx. 8.3 pages), 9 sources, APA, $ 65.95
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Abstract
This paper debates whether the Emperor Constantine can be considered a true Christian Emperor, or whether he was a Roman Emperor who adopted aspects of Christianity. In particular, it looks at his political needs and his establishment of the Senate and other institutions at Constantinople. It also examines his supposed conversion and whether it an be considered genuine or not.
From the Paper
"The principal primary sources we have for the life of Constantine are Eusebius' Vita Constantina, the writings of Lactantius, and the various edicts which Constantine himself put forward. These sources should be looked at in the context of Christianity and the tradition of Roman historical writing. Since Christianity was a new development, the roman historical traditions were still being taught to bishops and prominent Christian writers. In this tradition the agenda of the writer was exceptionally important; the writer's opinions affected most strongly what would be written down. Eusebius is no exception. 'I would be ashamed of myself if I did not put together what I can, little though it be and poor, for the one who out of his extraordinary devotion to God honoured us all.' Eusebius describes his ultimate goal of honouring Constantine, and throughout the book he commends Constantine highly as a Christian Emperor. "
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The Head Of Constantine, 2004.
A paper which looks at the sculpture "The Head of Constantine."
678 words (approx. 2.7 pages), 4 sources, MLA, $ 23.95
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Abstract
This paper discusses the sculpture of "The Head of Constantine." The paper examines the work in terms of its place both in the past and in the present. The paper looks at how the sculpture makes reference to art of the first and second centuries.
From the Paper
"Constantine the Great was the first Roman ruler to be converted to Christianity. He was the founder of Constantinople (present-day Istanbul), which remained the capital of the Eastern Roman Byzantine Empire, until Roman sculpture was determined to portray the individual as he or she actually looked whether an ordinary person or an emperor. Roman art is distinguished throughout its history through the use of a selective retrospection. Generals and emperors often liked to associate themselves with great emperors or warriors of the past..."
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Constantine's Role in the Rise of Christianity, 2003.
How Emperor Constantine was the driving force by which Christianity gained its strength.
2,136 words (approx. 8.5 pages), 4 sources, MLA, $ 66.95
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Abstract
This paper provides an historical overview of the life of Emperor Constantine and discusses his impact on early Christianity. It shows how and why many consider him to be the most important man in the history of the Christian church.
From the Paper
"His Control of the Roman Empire changed Christianity forever. Constantine himself was not born into Christianity, but later converted. In doing so he raised many questions as to whether or not he was a true Christian. Over his life he proved both for and against his being a Christian. The main points in his life that would help us determine the truth are the battle of Milvian Bridge, His defeat of Licinius, the Council of Nicea resulting in the Nicene Creed, his building of Constantinople, his governing style, and finally his death in A.D. 337."
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Arch of Constantine, 1999.
Examines contents & aesthetic & religious significance of sculptures on 4th Cent. Roman monument.
1,575 words (approx. 6.3 pages), 6 sources, $ 55.95
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From the Paper
"Political, social, and artistic changes on a vast scale make the reign of Constantine the Great and, indeed, the entire fourth century the most confusing era in the history of Roman art. The fortuitous survival of the Arch of Constantine--with its historic relationship to the rise of Christianity as the state religion--has made this monument the focus of many questions about the emergence of the distinctly unclassical style that was eventually identified with the new religion. The Arch featured various classical sculptural elements taken from monuments of earlier reigns in addition to contemporary carving in the new style. Though there is little agreement among scholars as to the precise stylistic significance of the new style as represented on the Arch and the form in which it was eventually manifested as Christian art, it is clear that the Arch of Constantine stands at.."
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Constantin Brancusi, 2006.
An analysis of the works of the sculptor Constantin Brancusi.
759 words (approx. 3.0 pages), 3 sources, MLA, $ 27.95
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Abstract
This paper discusses how Brancusi is one of the defining figures of twentieth-century sculpture, and one of its most seminal artists. The paper looks at how the sculpture "Blond Negresse", created within 1926 to 1933, is one example of how his revolutionary carvings introduced abstraction and primitivism to modern sculpture. It also examines Brancusi's complex relationship with the tradition of artistic classicism that shaped him and which considered sculpture with highest form of artistic expression.
From the Paper
"Taking a look at Brancusi's first steps as a sculptor confirm that he took his classical heritage very seriously, that he in no way undertook it simply as an academic exercise that had been imposed upon him. Brancusi's intense re-workings of Hellenistic sculpture are evident in his first Parisian works: Sleeping Child (1906-7), Torment (1907), The Kiss(1907-8), Sleep (1908), and Torso (1909-10). Many models from the past have been proposed for these works, as well as contacts with the work of his contemporary Rodin. "Sidney Geist, for example, suggested that Torso may possibly have been inspired by a similar element in a painting by Cezanne, a feasible hypothesis since Brancusi's attitude to classicism is very similar to Cezanne's. "
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Konstantin Stanislavski, 1991.
This paper discusses the career of Konstantin Stanislavski, founder of the modern theater and method acting: Techniques, theory and major works.
1,350 words (approx. 5.4 pages), 9 sources, $ 47.95
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From the Paper
"No single person has influenced the theater more than Konstantin Stanislavski. Stasnislavski and the modern theater in Russia, as well as throughout the world, became synonymous, because of his system of "Method Acting." He was born to a family of means in Moscow on January 17, 1863, and was well educated. Early in his life, he made a choice to devote himself to the stage: "Throughout his adolescence he took part in numerous performances organized in his family's house where stage facilities were specially built by his father.". Theater became his passion. He took singing, drama and ballet lessons.
While pursuing his amateur career, Stanislavski used his family money to start the Society of Art and Literature in 1888. It was a school and a repertory theater.. This proved to be a ... "
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Christianity from A.D. 50 to A.D. 100, 2001.
A discussion on how Constantine had some bearing on Christianity; the formation of single unified Roman Orthodox Church.
1,540 words (approx. 6.2 pages), 6 sources, $ 50.95
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Abstract
This essay compares the Christian religion prior to and after the rise of Constantine from A.D. 50 to A.D. 100. The author examines the influence Constantine had on Christianity in forming a single unified Orthodox Roman Church.
From the Paper
"When Constantine the Great took the throne in A.D. 306, Christianity began to be more clearly adopted as the religion of the Roman imperial government. While a struggle for spiritual authority had been going on since the time of Jesus, it was from this official embrace of Constantine that the idea of forming a single, unified and orthodox Roman church began to develop."
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