How Did Stanislavsky Contribute To Acting
Konstantin Stanislavsky founded the Moscow Art Theatre in 1989 with Vladimir Nemerovich-Danchenko. Stanislavsky's most significant contribution to theatre was his system of acting, which became the most persuasive influence on acting during the Twentieth Century. In 1912 he established the Moscow Art Theatre's First Studio to explore his system of acting through training and performances by young actors. Stanislavsky's system consisted of five basic assumptions about acting. The first basic assumption about acting is that an actor's body and voice must be trained and flexible so they can respond to all demands. Many actors today utilize this step by taking acting lessons, vocal lessons, and even dance lessons to prepare for a role. The
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This makes it important for an actor to thoroughly read through a script, including other characters parts to fully understand their role. Another way to assist in this is by studying other versions of the performance, if there are any, to see the performance as a whole and how it all fits together. Stanislavsky's next basic assumption is that actors must project themselves into the world of the play and may learn to do so through the magic if (through imagining how one would feel or act if one were in this specific character in this specific situation). Actors best do this by becoming one with a character, studying the features, feelings, and actions of the character, and really putting their heart and head into a role to become one with the character. The final assumption is that when on stage, the actor should concentrate moment by moment, as if the events were happening spontaneously and for the first time. Today's actors can achieve this by going into each performance as if it were the first time, so as to maintain that spontaneity. If you have ever noticed, most shows are rarely performed identically the next night, because the characters are living in the
This makes it important for an actor to thoroughly read through a script, including other characters parts to fully understand their role. Another way to assist in this is by studying other versions of the performance, if there are any, to see the performance as a whole and how it all fits together. Stanislavsky's next basic assumption is that actors must project themselves into the world of the play and may learn to do so through the magic if (through imagining how one would feel or act if one were in this specific character in this specific situation). Actors best do this by becoming one with a character, studying the features, feelings, and actions of the character, and really putting their heart and head into a role to become one with the character. The final assumption is that when on stage, the actor should concentrate moment by moment, as if the events were happening spontaneously and for the first time. Today's actors can achieve this by going into each performance as if it were the first time, so as to maintain that spontaneity. If you have ever noticed, most shows are rarely performed identically the next night, because the characters are living in the