He started developing this system on 1906. Although he is famous for his psychological realism, he has always been resisted by actors. So stanislavski finally left the theater to develop his own system and set up his first studio in 19 12. He lost his wealth in the Bolshevik Revolution. In order to make money for the troubled theater, he and the most famous actors in the Moscow theater sought support all over Europe and the United States. But many of them stay in the west for better employment and peace. These immigrants promoted stanislavski's idea of training actors and helped the system surpass Russian. During his tour, Whister published My Artistic Career and Actor Preparation, which helped him to promote the system all over the world.
After they returned to Moscow, the Soviet Union strengthened its control over art. By 1934, when socialist realism became the only legal artistic style, the censor revised all the contents published by stanislavski in Soviet Russia to make them conform to Marxist materialism. However, his system contains more and provides a more comprehensive way of performing arts. Although he published a lot of works about psychological realism in his early years, he continued to explore the formal structure of yoga, symbolism, drama and action, and embodied everything. (Sharon Mary Kannik, 1-5 pages)
In stanislavski's extensive exploration of performance, we can find that "experience" and real natural reaction in performance are what he pursues. Sharon Marie Kannik (1999, P207) said: "Actors are a means to convey various aesthetic styles of human experience to the audience, and they are a concrete art, not a science." From his system, we can see that an actor is not only a profession, but also a kind of love. Many of his methods require us to observe the world in our daily life, understand the body and senses, cultivate art extensively, and feel and understand life. So as to enhance the ability to generate * * * and express empathy. These are not only the improvement of the actor's ability, but also the improvement of personal quality and cultural accomplishment.
Through his overall exploration of performance forms and different training methods in the system, he tells us that the pursuit of performance by actors should be endless. Actors should explore from many aspects, not limited to one form. As he said, "the system is the guide. Open the book. The system is a manual, not a philosophy. The moment a system begins to become a philosophy, it is its end. Check the system at home, but forget it on the stage. You can't play the system. There is no system. Only Nature "(Jean Benedetti, p 100) as an actor should explore, test the performance methods suitable for us, and appreciate all kinds of art forms with tolerance. But acting and acting are done under the stage. The only thing to do on the stage is to "experience" with the impulse of the character.
Stanislavski's system mainly pursues realistic performance style, aiming at experiencing while performing. However, because it covers different aspects of performance training, including American methods, Soviet body movement methods and many other aspects: he thinks it is true and the actors must be artificial, which opens the aesthetic door for unreality. He put forward the viewpoint of "role", and the actors on the stage should be between people and roles. As an actor, you should have double consciousness on the stage and not be completely out of control. The "double effect" shows that we should not only realize that we are actors, but also hide ourselves in the role. He believes that body and mind are a continuum of psychophysics, so his system also includes yoga practice. He believes that every movement of the body has psychological factors, and every psychological activity should be put into action. Even if the reason is irrational, there is no action without reason. His later active analysis experiment is to test the actor's understanding of the role relationship through improvisation on the spot as a continuous "draft" of subsequent performances. As Sharon Marie Kannik (1999, page 3) said, "He thinks that his system provides suggestions for actors with different temperament to speak through different aesthetic styles." So I think his training system can be applied to any type of performance, and different training skills can be selected from his comprehensive system according to the type of performance.
In stanislavski's system, actors have two paths:
1. Psychology: From feeling to action, arouse feeling first.
2. Physical exercise
Training from the system falls into two categories.
1. Only by creating a "sense of self" with skills can we have a state of "experience".
? He uses body relaxation techniques by practicing yoga breathing and another way of gradual relaxation.
? Public solitude is achieved through concentration, that is, acting like a private person in public, so as to achieve physical and mental concentration on the stage.
In order to achieve a state of physical and mental concentration, this exercise requires us to improve our senses by observing five physical senses and emotions. Further exercise your attention through the circle of attention (you only pay attention to small, medium and large circles) and learn to limit your attention to the objects of concern in a limited area.
? Through the exercise of imagination, improve the ability to visualize the detailed world of each role. Enhance the actor's inner vision through imagination, such as choosing a few words at random and using them to imagine a single and harmonious photo. Further exercise your imagination through "fantasy if".
? Speech is just a way of communication, but what people often think but can't say is really worthy of our attention. In order to control nonverbal expression, the system suggests practicing energy rays and improvisation in quiet moments. Improve oral communication by improvisation.
2. Analyze characters, roles and characters, and successfully create characters.
? Give full play to imagination and intelligence through emotional cognition, that is, analyze the details of the play to understand the characters in the play, study the history and social world, and imagine that you have a * * * sound with the role in the role. Through the music of action. First of all, we need to distinguish between actions and activities: actions are active verbs, meaning what participants do to solve problems. Activities that create scene content, such as eating and cleaning the room. In addition, through action is a driving action that every actor needs to know in order to have a general feeling of what the drama wants to express. Secondly, we need to divide the drama into several parts to identify the actions.
? Inherent through the method of physical actions and the logical sequence of necessary physical actions. This technique assumes that a character's material life is more likely to evoke emotional life than his inner life.
? Understand the structure of the play through active analysis, and connect all the parts together like the anatomical structure of the body. Perform live impromptu performances to understand the relationship.
Generally speaking, in his system, a successful actor needs to combine thoughts, will and feelings. These three basic driving factors are interrelated and indispensable.
refer to
Hodge, A 20 10, Actor Training in routledge, London. Available from: ProQuest eBook Center. [10 September 20 19].
sharon, plain of
Mary Cannic, 1999, Focus on stanislavski, Routledge, e-book published on September 2nd.
2008，p207 https://doi-org . ez proxy-b . Deakin . edu . au/ 10.4324/9780203882092
Benedetti
2004,? Stanislavski:? An introduction, revision and
Update, routledge, London. Available from: ProQuest eBook Center. [ 1 1
20 19 September]. p 100
Sharon Mary Cannic, 1999, stanislavski Focus, Lu Trecci, e-book
Published on September 2nd, 2008, P3 https://doi-org.ezproxy-b.deacin.edu.au/10.4324/9780203882092.