Stanislavski: An Introduction

From the proscenium: The influence of Konstantin Stanislavski and the psychology of acting in Vygotsky’s work

“…Stanislavski, following the revolution in realism ushered in by Ibsen and Chekhov (and Gorky), stressed a psychophysiological approach to acting, which integrated physical gestures (of all types) into the collaborative development of character and scene. His pedagogical approach to instructing his students and actors placed particular importance on preparation, during which actors would analyze the overarching plot and their character's motivation and activity (Benedetti, 1982(Benedetti, /2004Stanislavski, 2008).…”

“…Perhaps Vygotsky's most well-known borrowing from Stanislavski is the concept of perezhivanie (переживание, pronounced pe-re-zhe-vah-ni-e). The exact translation of this term has confounded translators, but both Sobkin (for Vygotsky) and Benedetti (for Stanislavski) translate it as "experiencing" (Benedetti, 1982(Benedetti, /2004Sobkin & Mazanova, 2014). The word is defined vaguely by Stanislavski (2008) in the glossary of terms of An Actor's Work as "[t]he process by which an actor experiences the character's emotions afresh in each performance" (p. 683), and it is central to their work and their "system."…”

“…He in part worried that actors would downplay or ignore the psychophysiological and collaborative aspects of developing a character. He much preferred "psychological realism" and, when he used naturalism, it was almost always pejoratively (Benedetti, 1982(Benedetti, /2004…”

Directorial Interpretation of <i>the Adventures of </i><i>Sasa</i> <i>and </i><i>Esi</i>: An Experimentation of Theatrical Elements

“…With regard to the style of acting of the Directors, they employed the theoretical method of Classical Acting Technique which was the Konstantin Stanislavski approach. This acting technique trains actors in the areas of concentration, voice physical skills, emotional memory, observation, and dramatic analysis, and that was what the Directors explored [7]. The reason for the Directors choice of Stanislavski's approach was because his method was universally applicable to all actors.…”

¡MPROV! Interdisciplinaria. Propuesta de improvisación en música folk & jazz con la creación de audiovisual y danza contemporánea.

“…Su característica más importante fue que sometió su actuación y dirección a un riguroso proceso de autoanálisis y observación artística (Benedetti, 1989). El método de Stanislavski está basado en el acto de experimentar, incorpora el pensamiento consciente con la voluntad del actor para estimular otros procesos psicológicos menos controlables, como la experiencia emocional y el comportamiento subconsciente, de manera indulgente e indirecta (Benedetti, 1999).…”