Abstract
Konstantin Stanislavski, Russian actor and director, creator of an acting system (The System) for the Moscow Art Theater established this method to get their actors to play roles, to create characters through natural means and embody them in the stage in an artistic way. His experience as an actor and the notes of his teachers helped him to develop a manual which remains valid nowdays.Taking Stanislavski as basis, Strasberg, the American theater director of Polish origin, created what is known as the Method, the basis of the well-known Actor’s Studio. Despite being one of the most studied and effective methods, it is sometimes rejected and criticized.In this article, we propose to explain the Stanislavski system, its evolution to the Strasberg method, and the criticisms that both awaken, using a descriptive methodology, based on the investigations established by Jorge Eines or María Ósipovna Knébel, among others. The objective of this research is to create a theoretical approach that will serve for future lines of investigation of both methods and analyze and ground the criticisms of both systems.
Highlights
Taking Stanislavski as basis, Strasberg, the American theater director of Polish origin, created what is known as the Method, the basis of the wellknown Actor’s Studio
We propose to explain the Stanislavski system, its evolution to the Strasberg method, and the criticisms that both awaken, using a descriptive methodology, based on the investigations established by Jorge Eines or María Ósipovna Knébel, among others
The objective of this research is to create a theoretical approach that will serve for future lines of investigation of both methods and analyze and ground the criticisms of both systems
Summary
El objetivo de esta investigación es presentar una visión clara del sistema Stanislavski a partir del análisis de su libro El trabajo del actor sobre sí mismo en el proceso creador de la vivencia (1937), basándose, al mismo tiempo en un análisis comparativo con el método Strasberg. Esta investigación se considera interesante, puesto que, por un lado, puede servir para aclarar prejuicios determinantes en el ámbito de la interpretación que giran en torno a la figura de Stanislavski, y, por otro lado, reflexiona sobre las bases establecidas mediante este método, sus analogías con otras corrientes, que conlleva y se configura como uno Capítulo II – Cinema – Cinema de los principios fundamentales en el desarrollo de otras investigaciones en la materia objeto de estudio
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