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Brecht on his theory of theater
Brecht on his theory of theater
Brecht on his theory of theater
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Bertolt Brecht and Constantin Stanislavski are regarded as two of the most influential practitioners of the twentieth century, both with strong opinions and ideas about the function of the theatre and the actors within it. Both theories are considered useful and are used throughout the world as a means to achieve a good piece of theatre. The fact that both are so well respected is probably the only obvious similarity as their work is almost of complete opposites.
Stanislavski was born in 1863 to a wealthy family who loved amateur theatricals. In 1898 he met Vladimir Nemirovich-Danchenko and they founded the Moscow Art Theatre. Stanislavski's work is centred on the notion that acting should be a total lifelike expression of what is being imitated.
With regards to the role of the theatre, and of it audience, Stanislavski viewed theatre as a means of artistically expressing things, and that the audience's role was to 'look in' on the action on the stage. He favoured the idea of the 'fourth wall' which separated the audience and the actors, to re-create total realism on the stage. He wanted the audience to feel the pain or joy of the actor, and that watching a performance would have brought out a feeling of empathy.
Stanislavski believed in ensemble acting and wanted to take theatre away from the idea of having a star, to create as near to naturalism as possible. (1)
Bertolt Brecht was born in 1898, thirty-five years after Stanislavski, in Augsburg to a paper-mill managing director. His life was spent moving from country to country, fleeing from Nazi forces and other political pressures. In 1949 Brecht and Helene Weigel founded the Berliner Ensemble, which in 1990 (thirty-four years after Brechts death) was transformed int...
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...ously and see plays and performances not only as art but as a vital part of the human existence.
(1) http://www.kryingsky.com/Stan/Biography/bot.html
(2) http://www.cs.brandeis.edu/~jamesf/goodwoman/brecht_bio.html
(3) An Actor Prepares by Constantine Stanislavski, Elizabeth Reynolds Hapgood
(4) http://www.quoteworld.org/author.php?thetext=Bertolt%20Brecht
(5) http://www.ru.ac.za/academic/departments/afrikaans/kabaret/Bertolt%20Brecht%20(1891-1956).html
(6) An Actor's Handbook: An Alphabetical Arrangement of Concise Statements on Aspects of Acting
If you were to ask any person what acting was, they would most likely give you an answer along the lines of: portraying the life of another person, talking and acting like a character, bringing a fictional or representational character to life. While actors may appear to be inseparable with their characters while one is watching them perform, once they go home and take off the stage makeup, they change; Mark Ruffalo is no longer a 10-foot green monster, and Bradley Cooper is not a sadistic bionic raccoon. However, Konstantin Stanislavski, a Russian actor and writer of the late 19th and early 20th century, felt as if these actors should adopt the characteristics of their character as best they can in order to be able to actually become the characters
Augusto Pinto Boal was one of the world leading theatre practitioners and inventor of a whole school of theatre called 'Theatre of the Oppressed'. He was born in Rio de Janeiro (Brazil) on 17th of March 1931, when his country was ruled by a dictatorial military regime. Since his youth, Boal felt a great passion for theatre, and despite his degree in engineering, in 1952 he enroled himself in a drama school in New York (from '50s and the early '60s of the last century), where he met Constantin Stanislavski and had the opportunity to know new theatrical methods.
They are both timeless and remembered for their contributions to the theater and actors. They are still mentors to many actors and university students today through the legacy they have left. “The discoveries of Stanislavsky and their significance together with the perspective and experience provided by the method, seem to me o provide for the first time a concrete foundation for the understanding of the actors creativity, and thus provide the basis for the training of the actor”(Strasberg and Morphos 198-199). After completing my research on acting and teaching techniques I have been able to identify that there area few differences in the system of Stanislavski and the method of
Konstantin Stanislavski was a Russian stage actor and director, who developed the naturalistic performance technique known as the “Stanislavsky method,” or method acting. Born in 1863 in Moscow, Russia, Stanislavski was part of a wealthy clan, who loved theater. His maternal grandmother was a French actress and his father constructed a stage on the family’s estate. Stanislavski started working in theater as a teen to join the family drama circle. He developed his theatrical skills considerably over time, performing with other acting groups while working in his clan’s manufacturing business.
Stanislavsky was born in 1863, in Russia; by birth he was named Konstanin sergeevch. Throughout life he saw social and scientific changes as centuries developed. During his life he witnessed three great revolutions: realism’s overturn of nineteenth-century histrionics, modernisms rejection of realism and Russia’s political move to communism from the monarchy. The realism’s overturn of the nineteenth-century histrionics and the modernism rejection of realism really shaped his career, making him world famous and the last stripped him of his wealth and left him more focused on political forces as opposed to theatre.
Bertolt Brecht was a theorist and innovator whose expansively influential work is, sadly, beyond the limited scope of this paper. What we must focus on is only one facet of his thought o...
In conclusion to this essay we can say that Stanislavski’s system in the training of the actor and the rehearsal process is effective. The system helps actors to break down their characters gradually and really know the role. Some may even the say that the system helps them to almost become the character. The system has played a significant part in theatre training for many years. It has been used, adapted and interpreted by several practitioners, actors and tutors. For many years to come Stanislavski’s system will still be used in theatre training. Not only is it an effective system it is the past, present and future of theatre training and the rehearsal process.
Konstantin Stanislavski was a well- renowned Russian-born seminal Russian Theatre practitioner. He was born on January 17, 1863 in Moscow, Russia. Growing up, Stanislavski had a very privileged life. He grew up in one of the wealthiest families of Russia, the Alekseievs. He used much of his inherited wealth towards his acting and directing pursuits. As a young child his however, his family didn’t really support much of his acting, yet he still had hopes in making a name for himself. At the tender age of 14, he joined a theatrical group organized by his family, and he soon gained attention by it. He slowly began to develop his theatrical skills over time, and he began to gain more experience by performing with other acting groups. In 1885, he decided to give himself the stage moniker of “Stanislavski”- after the fellow actor he’d met. Three years later he married the love of his life, Maria Perevoshchikova, and she
Konstantin Sergeyevich Stanislavski, also known as constantin stanislavski Is the theorist I used as a basis for my solo piece “Fences”. He was a russian actor, director and theorist. He co-founded the Moscow Art Theatre in 1897 and developed a performance process known as method acting, allowing actors to use their personal histories to express authentic emotion and create rich characters. In 1912 he created First studio, which served as a training ground for young thespians. During the Moscow Art Theatre's early years, Stanislavski worked on providing a guiding structure for actors to consistently achieve deep, meaningful and disciplined performances. He believed that actors needed to inhabit authentic emotion while on stage and, to do so, they
Theatre has the power to take people away from their current reality, teaching them, changing their minds, providing catharsis, and helping them empathetically understand their world. It also refers to my desire to help others find their purpose through my own. By performing, doing what I love, I have the opportunity to touch people and maybe inspire them to take chances, try something new, and actively seek happiness and fulfillment. I seek to inspire others while simultaneously being inspired.
I am never really aware of how I move my body unless I am acting. As I type this, I am not aware of how I position myself or how my fingers are moving across eh keyboard. I simply am moving them as I always had. With Stanislavski’s system, this is different. I cannot force myself to act in a certain way to make my character more believable (as I do not force myself to act in a certain way outside of the stage), but I do have to move with a purpose. I can shift my body in a way that gives off the mood of being uncomfortable, or I can do the same action with the intent of coming off as intrigue: an unconscious thing in my day-to-day life.
“Theatre makes us think about power and the way our society works and it does this with a clear purpose, to make a change.”
Freud was born in May 6, 1856 in the Czech Republic. He attended Spurling Gymnasium. At Spurling, he was first in his class and graduated Summa Cum Laude. After studying medicine at the University of Vienna, he gained respect while working as a physician. Freud and a friend were introduced to a case study that resulted in no cause, but they found that having the patient talk about her experiences had a calming effect on the symptoms. That was considered to be the beginning of the study of psychology.
Any theatrical performance requires a two-fold exchange. The performers must act in such a way as to engage the audience and draw them into the story of the stage. However, the audience itself must yield to the imagination, allowing at times the irrational to take precedent over rational expectations. This exchange between performers and audience creates the dramatic experience; one cannot exist without the other.
For thousands of years, people have been arguing that theatre is a dying art form. Many people think theatre is all just cheesy singing and dancing or just boring old Shakespeare, but there is much more to theatre than those two extremes. Theatre is important to our society because it teaches us more about real life than recorded media. Theatre has been around for thousands of years and began as a religious ceremony that evolved into an art form that teaches about the true essence of life. Theatre can incorporate profound, and provocative, observations of the human condition that can transcend time; lessons found in Greek plays can still be relevant to the modern world. People argue that the very essence of theatre is being snuffed out by modern