| Papers [1-5] of 5 | Search results on "KONSTANTIN STANISLAVSKI": |
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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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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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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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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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The Collapse of Communism, 2006.
This paper reviews the book "Soviet Communism from Reform to Collapse," written and edited by Robert V. Daniels.
1,575 words (approx. 6.3 pages), 1 source, $ 62.95
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Abstract
The paper discusses how after reading this book, the writer learned that Gorbachev's aging predecessors, Yuri Andropov and then Konstantin Chernenko, both died after brief presidencies, so the Politburo felt compelled to select a young, dynamic leader and elevated Mikhail Gorbachev to the chairmanship of the Communist Party and the presidency of the Soviet Union. More importantly, the writer explains how he/she learned why Gorbachev's elevation to power ultimately doomed communism in the USSR.
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