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TRAINING the YOUNG ACTOR: a PHYSICAL APPROACH a Thesis
TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Anthony Lewis Johnson December, 2009 TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH Anthony Lewis Johnson Thesis Approved: Accepted: __________________________ __________________________ Advisor Dean of the College Mr. James Slowiak Dr. Dudley Turner __________________________ __________________________ Faculty Reader Dean of the Graduate School Mr. Durand Pope Dr. George R. Newkome __________________________ __________________________ School Director Date Mr. Neil Sapienza ii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION TO TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH...............................................................................1 II. AMERICAN INTERPRETATIONS OF STANISLAVSKI’S EARLY WORK .......5 Lee Strasberg .............................................................................................7 Stella Adler..................................................................................................8 Robert Lewis...............................................................................................9 Sanford Meisner .......................................................................................10 Uta Hagen.................................................................................................11 III. STANISLAVSKI’S LATER WORK .................................................................13 Tension -
Sculptor Nina Slobodinskaya (1898-1984)
1 de 2 SCULPTOR NINA SLOBODINSKAYA (1898-1984). LIFE AND SEARCH OF CREATIVE BOUNDARIES IN THE SOVIET EPOCH Anastasia GNEZDILOVA Dipòsit legal: Gi. 2081-2016 http://hdl.handle.net/10803/334701 http://creativecommons.org/licenses/by/4.0/deed.ca Aquesta obra està subjecta a una llicència Creative Commons Reconeixement Esta obra está bajo una licencia Creative Commons Reconocimiento This work is licensed under a Creative Commons Attribution licence TESI DOCTORAL Sculptor Nina Slobodinskaya (1898 -1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 TESI DOCTORAL Sculptor Nina Slobodinskaya (1898-1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 Programa de doctorat: Ciències humanes I de la cultura Dirigida per: Dra. Maria-Josep Balsach i Peig Memòria presentada per optar al títol de doctora per la Universitat de Girona 1 2 Acknowledgments First of all I would like to thank my scientific tutor Maria-Josep Balsach I Peig, who inspired and encouraged me to work on subject which truly interested me, but I did not dare considering to work on it, although it was most actual, despite all seeming difficulties. Her invaluable support and wise and unfailing guiadance throughthout all work periods were crucial as returned hope and belief in proper forces in moments of despair and finally to bring my study to a conclusion. My research would not be realized without constant sacrifices, enormous patience, encouragement and understanding, moral support, good advices, and faith in me of all my family: my husband Daniel, my parents Andrey and Tamara, my ount Liubov, my children Iaroslav and Maria, my parents-in-law Francesc and Maria –Antonia, and my sister-in-law Silvia. -
The Role of Stanislavsky and the Moscow Art Theatre's 1923 And
CULTURAL EXCHANGE: THE ROLE OF STANISLAVSKY AND THE MOSCOW ART THEATRE’S 1923 AND1924 AMERICAN TOURS Cassandra M. Brooks, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Olga Velikanova, Major Professor Richard Golden, Committee Member Guy Chet, Committee Member Richard B. McCaslin, Chair of the Department of History Mark Wardell, Dean of the Toulouse Graduate School Brooks, Cassandra M. Cultural Exchange: The Role of Stanislavsky and the Moscow Art Theatre’s 1923 and 1924 American Tours. Master of Arts (History), August 2014, 105 pp., bibliography, 43 titles. The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States in 1923 and 1924, and the developments and changes that occurred in Russian and American theatre cultures as a result of those visits. Konstantin Stanislavsky, the MAT’s co-founder and director, developed the System as a new tool used to help train actors—it provided techniques employed to develop their craft and get into character. This would drastically change modern acting in Russia, the United States and throughout the world. The MAT’s first (January 2, 1923 – June 7, 1923) and second (November 23, 1923 – May 24, 1924) tours provided a vehicle for the transmission of the System. In addition, the tour itself impacted the culture of the countries involved. Thus far, the implications of the 1923 and 1924 tours have been ignored by the historians, and have mostly been briefly discussed by the theatre professionals. This thesis fills the gap in historical knowledge. -
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Advances in Social Science, Education and Humanities Research, volume 284 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018) Study on the Constructivist Utopia of Vsevolod Meyerhold Vadim Shcherbakov Department for Research and Publication of Meyerhold‘s Legacy The State Institute for Art Studies Moscow, Russia E-mail: [email protected] Abstract—Meyerhold was always fascinated by the development and made an impact on acting. But more often concepts of art changing and creating life. He was deeply they represented examples of successful utilization of concerned by the Russians’ headfast unwillingness to obey the fashionable design. No matter how strongly the slow course of evolution. The director’s experiments in Constructivists struggled against the dogma of aesthetic establishing the performance as a mass meeting and his perception of an artwork as a value in itself, their creations concept of monumental revolutionary propaganda, as they had had obvious stylistic features that were able to exist been manifested in The RSFSR-1 Theatre, proved to be independently of their ideological concepts. The successful and convincing. Nevertheless, the Moscow Soviet constructivist art forms developed a fashion trend that lasted closed the theater. As Meyerhold trusted the party leaders he for a while, and theatre did not hesitate to make use of it. considered closing his theater a proof of the fact that the Soviet country was in no need of professional stage art. Thereby the Alexandre Tairov at the Kamerny Theatre did over a constructivist idea of art which aims to design life in dozen productions in association with artists who belonged accordance with artistic laws shows the way out of the impasse. -
The Spectator and Dialogues of Power in Early Soviet Theater By
Directed Culture: The Spectator and Dialogues of Power in Early Soviet Theater By Howard Douglas Allen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Sociology in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Victoria E. Bonnell, Chair Professor Ann Swidler Professor Yuri Slezkine Fall 2013 Abstract Directed Culture: The Spectator and Dialogues of Power in Early Soviet Theater by Howard Douglas Allen Doctor of Philosophy in Sociology University of California, Berkeley Professor Victoria E. Bonnell, Chair The theater played an essential role in the making of the Soviet system. Its sociological interest not only lies in how it reflected contemporary society and politics: the theater was an integral part of society and politics. As a preeminent institution in the social and cultural life of Moscow, the theater was central to transforming public consciousness from the time of 1905 Revolution. The analysis of a selected set of theatrical premieres from the Bolshevik Revolution in 1917 to the end of Cultural Revolution in 1932 examines the values, beliefs, and attitudes that defined Soviet culture and the revolutionary ethos. The stage contributed to creating, reproducing, and transforming the institutions of Soviet power by bearing on contemporary experience. The power of the dramatic theater issued from artistic conventions, the emotional impact of theatrical productions, and the extensive intertextuality between theatrical performances, the press, propaganda, politics, and social life. Reception studies of the theatrical premieres address the complex issue of the spectator’s experience of meaning—and his role in the construction of meaning. -
9781501707209.Pdf
RIVOlUTIONARY ACTS RIVOlUTIONARY Amateur Theater and the Soviet State, CORNELL UNIVERSITY PRESS Ithaca and London Copyright © 2000 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850, or visit our website at www.cornellpress.cornell.edu. First published 2000 by Cornell University Press. First printing, Cornell Paperbacks, 2016. Library of Congress Cataloging-in-Publication Data Mally, Lynn. Revolutionary acts : amateur theater and the Soviet state, 1917–1938 / Lynn Mally. p. cm. Includes bibliographical references. ISBN 978-0-8014-3769-4 (cloth : alk. paper) ISBN 978-1-5017-0720-9 (pbk. : alk. paper) 1. Amateur theater—Soviet Union—History—20th century. I. Title. PN3169.S65 M27 2000 792'.0222'094709041—dc21 00-009282 The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ For Bob and Nora Contents Preface ix Introduction 1 1 The Revolution Loves the Theater 17 2 Small Forms on Small Stages 47 3 From "Club Plays" to the Classics 81 4 TRAM: The Vanguard of Amateur Art 109 5 Shock Workers on the Cultural Front 146 6 Amateurs in the Spectacle State 181 Conclusion 213 Glossary 223 Bibliography 225 Index 243 Preface THI S B 0 0 K began as a study of the Leningrad Theater of Working-Class Youth, known by its acronym TRAM. -
'Dead Pet Acting': Legacies of Stanislavsky
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals... More than ‘Dead Pet Acting’: Legacies of Stanislavsky IAN MAXWELL It is easy to misunderstand Konstantin Stanislavsky.1 He is reviled by the left, champions of Brecht, for his bourgeois humanism; ignored by the post- structuralists, champions of Artaud, for his arch-modernism; claimed by the psychoanalysts of the Actors Studio as the inventor of the Method. His achievements are rendered as a unified, completed corpus—a theory— characterized in uncomplicated opposition to the equally unproblematized “theory” of his compatriot, collaborator and friend, Vsevolod Meyerhold. Meyerhold’s topography of the actor, goes the story, followed the logic of the (William) Jamesian schema (famously: “I saw the bear, I ran, I felt afraid”) to produce an “outside-in”, “physical” theory of acting. Stanislavsky, in contrast, worked from the inside out, producing a “psychological” theory of acting; the theory that, notwithstanding the political/formalist diversions of Brecht, won out in the grand narrative of theatre history.2 In fact, Stanislavsky only reluctantly committed his work to the page. His first book, the autobiographical My Life in Art, was published in 1924 in response to the success of his company’s American tours of 1923 and 1924; the second, An Actor Prepares, was written as the first of what Stanislavsky expected to be a seven book magnum opus, and published posthumously in 1936. The other English-language publications bearing his name—Building a Character and Creating a Role 3—are better read as collections of drafts and notes, rather than the explication of a single model. -
Object Work in Meyerhold's Biomechanics
This is a repository copy of Tracing/Training Rebellion: Object work in Meyerhold's biomechanics. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/84210/ Version: Accepted Version Article: Pitches, J orcid.org/0000-0003-4754-9378 (2007) Tracing/Training Rebellion: Object work in Meyerhold's biomechanics. Performance Research, 12 (4). pp. 97-103. ISSN 1352-8165 https://doi.org/10.1080/13528160701822692 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ On Objects: Performance Research, Vol 12, No.4. Tracing/Training Rebellion: Object Work in Meyerhold’s Biomechanics Jonathan Pitches, Professor of Theatre and Performance, School of Performance and Cultural Industries, Leeds University, UK. Pre-acti Lying in the Russian State Archive of Literature and Arts in Moscow (RGALI) is a nine-page document entitled Programme of Biomechanics, Meyerhold Workshop (1922). Though modest in size, it is an unashamedly ambitious programme, which sought to redefine acting in a post-revolutionary context and to place performer training in Russia on a par with science. -
I from KAMCHATKA to GEORGIA the BLUE BLOUSE MOVEMENT
FROM KAMCHATKA TO GEORGIA THE BLUE BLOUSE MOVEMENT AND EARLY SOVIET SPATIAL PRACTICE by Robert F. Crane B.A., Georgia State University, 2001 M.A., University of Pittsburgh, 2005 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 i UNIVERSITY OF PITTSBURGH DEITRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Robert F. Crane It was defended on March 27, 2013 and approved by Atillio Favorini, PhD, Professor, Theatre Arts Kathleen George, PhD, Professor, Theatre Arts Vladimir Padunov, PhD, Professor, Slavic Languages and Literature Dissertation Advisor: Bruce McConachie, PhD, Professor, Theatre Arts ii Copyright © by Robert Crane 2013 iii FROM KAMCHATKA TO GEORGIA THE BLUE BLOUSE MOVEMENT AND EARLY SOVIET SPATIAL PRACTICE Robert Crane, PhD University of Pittsburgh, 2013 The Blue Blouse movement (1923-1933) organized thousands of workers into do-it-yourself variety theatre troupes performing “living newspapers” that consisted of topical sketches, songs, and dances at workers’ clubs across the Soviet Union. At its peak the group claimed more than 7,000 troupes and 100,000 members. At the same time that the movement was active, the Soviet state and its citizens were engaged in the massive project of building a new society reflecting the aims of the Revolution. As Vladimir Paperny has argued, part of this new society was a new spatial organization, one that stressed the horizontal over the -
Non Method Acting V.Meyerhold, B.Brecht Methodica
Acting Classes Vancouver Non Method Acting V.Meyerhold, B.Brecht Methodica Acting Studio for Film and Theatre Director´s Note Dear Student, Let me congratulate you on making the choice of a career in film and stage arts - you‘re making the first step on what promises to be a very rewarding journey. Having started along the path once myself, I can imagine some of the things you may be feeling, and some of the questions you might have. Perhaps I can answer some of these questions right now: About our Studio You will be part of an ably run creative space and will be trained by professionals, who are all active artists and highly regarded university level teachers. About your training Our studio works with the technique of training known as the Method. The Method is designed to open and encourage the awareness of its students to the performing arts as an understanding of human behavior. Training in the Method is a guarantee for confidence,stability and a professional approach during the process of performance. About your on-stage and on-camera experience Our training is production based: you will design, stage and perform in six theatre pro- ductions, and author, act in or shoot a short film. As well as the theoretical guidance you will receive in completing your projects, the Studio offers technical equipment of an industry standard. Most importantly, our training emphasizes personalized one-on-one work with the student. And this starts now! Please don‘t hesitate to phone or e-mail me with questions you might have. -
A Historical and Theoretical Investigation Of
A HISTORICAL AND THEORETICAL INVESTIGATION OF SELF-DRAMATIZED PERFORMANCE AND ITS INFLUENCE ON ASPECTS OF TWENTIETH CENTURY AMERICAN THEATRE by PIROOZ AGHSSA, B.M., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved December, 1991 /\fa f^^ ACKNOWLEDGEMENTS I offer my deepest gratitude and respect to Dr. George W. Sorensen who has tirelessly advised and inspired me. He has assisted me (as he has assisted countless other students) to discover my "self" and to recognize the significance of that discovery within the context of theatre which mirrors life. I will always be indebted to his training program which is a testimonial of his tremendous humanity and talent. 11 TABLE OF CONTENTS ACKNOWLEDGEMENTS CHAPTER I. INTRODUCTION Statement of the Problem II. A THEORETICAL INVESTIGATION OF SELF-DRAMATIZED ACTING Introduction Vsevolod Meyerhold and Eugene Vakhtangov: Rediscovery of the Independent Reality of the Theatre Bertold Brecht: The Actor as the Demonstrator of Character and Action Antonin Artaud: The Self-Sacrificing Actor Jerszy Grotowski: The Actor's Theatre Richard Schechner and Joseph Chaikin: The American Connection Conclusion Notes III. POLITICAL THEATRE Application of Theories to Performance, Genres, Forms, and Style Historical Background The Living Theatre Charles Ludlam and The Ridiculous Theatre M. Butterfly: Political Theatre on the Commercial Scene Conclusion Notes IV. MUSICAL THEATRE Introduction 9 ] Musical Theatre: The American National Opera 91 The Decline of the Traditional American Musical and The Rise of the Conceptual Musical 9' Stephen Sondheim H^ Conclusion 12C Notes 12 ' 111 V. -
Theatrical Spectatorship in the United States and Soviet Union, 1921-1936: a Cognitive Approach to Comedy, Identity, and Nation
Theatrical Spectatorship in the United States and Soviet Union, 1921-1936: A Cognitive Approach to Comedy, Identity, and Nation Dissertation Presented in Partial Fulfillment of the Requirements for the Doctor of Philosophy in the Graduate School of The Ohio State University By Pamela Decker, MA Graduate Program in Theatre The Ohio State University 2013 Dissertation Committee: Lesley Ferris, Advisor Jennifer Schlueter Frederick Luis Aldama Copyright by Pamela Decker 2013 Abstract Comedy is uniquely suited to reveal a specific culture’s values and identities; we understand who we are by what and whom we laugh at. This dissertation explores how comic spectatorship reflects modern national identity in four theatre productions from the twentieth century’s two rising superpowers: from the Soviet Union, Evgeny Vakhtangov’s production of Princess Turandot (1922) and Vsevolod Meyerhold’s production of The Bedbug (1929); from the United States, Eubie Blake and Noble Sissle’s Broadway production of Shuffle Along (1921) and Orson Welles’ Federal Theatre Project production of Horse Eats Hat (1936). I undertake a historical and cognitive analysis of each production, revealing that spectatorship plays a participatory role in the creation of live theatre, which in turn illuminates moments of emergent national identities. By investigating these productions for their impact on spectatorship rather than the literary merit of the dramatic text, I examine what the spectator’s role in theatre can reveal about the construction of national identity, and what cognitive studies can tell us about the spectator’s participation in live theatre performance. Theatre scholarship often marginalizes the contribution of the spectator; this dissertation privileges the body as the first filter of meaning and offers new insights into how spectators contribute and shape live theatre, as opposed to being passive observers of an ii already-completed production.