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The Stanislawski System

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Théatre et mondialisation

Université Louis-et-Maximilien de Munich (LMU)

4.7 (77 notes) | 4.7K étudiants inscrits

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Learn how theatre and globalization have affected each other over the past century, and how to conduct your own research on global theatre histories.

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4.7 (77 notes)

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LO

Apr 28, 2019

Theatre and Globalization should be core module in any Theatre Studies Programme.

GJ

Jun 13, 2018

I LOVED this course! Plans are to visit the university in the near future!

À partir de la leçon

East versus West: Cold War Rivaleries

Theatre and the Cold War; theatre as a site of the rivalry between East and West.

Theatre and the Cold War 1:46

The Iron Theatrical Curtain 2:12

Cultural Diplomacy 4:18

The Stanislawski System 4:05

Interview with Dr. Li Yinan 5:02

Porgy and Bess in the Soviet Union 9:14

Theatrical Public Goods 3:43

The Cost Disease 2:29

Interview with Prof. Stephen Wilmer 7:22

Decolonizing the Stage: Theatrical Interweaving 5:10

Enseigné par

Christopher Balme
Professor

Let us look at some examples of theater as cultural diplomacy, or

perhaps we could all it technology transfer.

Throughout this course we have stressed that modernization

has been one of the driving forces behind the globalization of theater.

This is nowhere more apparent than in the most basic craft of theater: in acting.

Now, the world is full of fascinating performance forms,

each with their own traditions and means of transmission.

What we see in the 20th century, is the dominance of one approach.

The famous method or system developed by Constantin Stanislavski

at the Moscow Art Theatre in the first decades of the 20th century.

I'm not going to try and explain his method or system here.

There are many textbooks that can do that.

Instead, I want us to think about why it became a global acting style.

Almost a kind of orthodoxy.

Stanislavski-style acting stresses emotional identification.

One of his most famous tenets requires that the actor draw on his or

her own emotional experience, the so-called emotional or

affective memory, to create a role.

The concept of emotional memory establishes congruence between the actor's

actual emotional makeup and the requirements of the fictional role.

Stanislavski developed complex exercises so

that the actor achieves a level of conscious control.

These exercises proved to be very influential in theater practice and

actor's training.

His method began to be taught in other countries during his own lifetime by

his pupils, and others claiming to be his pupils.

The most famous of these was Lee Strasberg who learned the system in the USA from two

Russian actors.

As artistic director of the Actor's Studio in New York, and

founder of the Lee Strasberg Theatre and

Film Institute, his own acting school, Strasberg coined the name method acting.

And popularized it among many now famous Hollywood actors, such as Marlin Brando,

Robert de Niro, Al Pacino, Johnny Depp, Julia Roberts, and many more.

But the system, drawing from Stanislavski, spread not only in the US.

It coincided with a huge increase in the number

of acting schools in the 20th century, both state and private, to cater for

the expanding theater, film, and later, television industries.

The more surprising aspect of the story is how it took root in Asia,

especially China.

Surprising because Asian performance cultures proceed from

quite different principles,

mainly exhaustive physical training regimes that often begin in childhood.

But perhaps it is not so surprising

in the light of Soviet Chinese relations in the immediate post war period.

Realist theater, or rather, Socialist Realist theater.

The orthodox Soviet approach to the arts

was adopted by the Communist Chinese state, founded in 1949.

Modernization was one of the catch cries of the revolution.

And initially, China received direct support from the Soviet Union.

The Central Academy was founded in 1950.

And while it continued to train performers in the traditional forms, modern drama,

both foreign and home-grown, received equal attention.

Soviet theater experts were regular visitors.

One important result of this exchange is the importance of Stanislavski's system.

In China, Stanislavski is a major figure.

This statue is located outside the main building

of the new campus of the Central Academy of Drama in Beijing.

This huge campus, which offers both western-style and

traditional theater training, is itself,

a testimony to the importance of western-style theater in China.

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