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- W1603667738 abstract "ROSE WHYMAN, STANISLAVSKI: THE BASICS (LONDON AND NEW YORK: ROUTLEDGE, 2013)In recent times, one hears less mention of Stanislavski. When I last worked with young professional actors, they seemed to be calling on a downloaded programme of acting responses (the first glance of the lover, the steely glare, and so on) rather than entering that personal dialogue with the characters and the play which is suggested by the sentence: If I were this person, in this situation, what would I feel, how would I react? I realised that they had been brought up immersed in performance and had all the possibilities of performances that they had seen, at their fingertips. They were, in that sense, highly competent; yet there was something lacking, the sense of the personal which can transcend Baudrillard's 'promotional identity'. This study of Stanislavski, aimed at the Drama student and the Drama teacher, is timely, then.The book briefly outlines Stanislavski's life, which moved from bourgeois family to revolutionary Soviet Union and its difficult cultural politics, culminating in the need to survive under Stalin and the dominant ideology of social realism. Whyman notes that 'the method' was considered much more favourably in the social realist climate than the work of the more revolutionary-minded Meyerhold, who was finally eliminated in one of the numerous purges. Later, Jerzy Grotowski would survive in Poland by astutely emphasising the legacy of Stanislavski, rather than his perhaps more obvious debt to Meyerhold.Whyman then works through the basic training methods: concentration and attention, relaxation, sensory and emotional memory, and the playing of actions. She moves to script analysis, including the concepts of given circumstances and tasks and super tasks (sometimes called 'objectives' and 'super objectives'). She describes the method of physical actions, through line, imagination and subtext, before concluding with a section called 'Embodiment of the Role', requiring vocal and physical training in order to remove blockages, and the working on the outer characteristics of the character.With the accompanying practical exercises, this is a very useful primer for the acting classroom or studio. There is, perhaps, something prosaic compared with Stanislavski's own books, which involved a fictional class and tutor, but the translation of his ideas into a discrete text has been very well accomplished.In the concluding chapter, on Stanislavski's Influence and legacy, Whyman leaves the confines of the classroom text. As with any guru figure, the politics of the disciples and their factions is fascinating, especially as she details the artistic and technical reasons behind the breaks. …" @default.
- W1603667738 created "2016-06-24" @default.
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- W1603667738 date "2013-10-01" @default.
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- W1603667738 title "Stanislavski: The Basics" @default.
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