Stanislavski and Chekhov PDF

Title Stanislavski and Chekhov
Author Eimear Curran
Course Bachelor Of Arts (Hons)
Institution Waterford Institute of Technology
Pages 1
File Size 90 KB
File Type PDF
Total Downloads 68
Total Views 133

Summary

Stanislavski and Chekhov Assignment...


Description

When examining how the art of acting is according to Konstantin Stanislavski’s theories in the chapter ‘Acting is an Art’ in ‘An Actor Prepares’ (1936) and comparing it with how the characters in ‘The Seagull’ (1898) a play by Russian dramatist Anton Chekhov, view on acting, They both view acting vastly different , Stanislavski views acting in a more disciplined form, simply believing that one must become the living part, “If you take all these internal processes, and adapt them to the spiritual and physical life of the person you are representing, we call that living the part’’(Stanislavski 1936, p.14) He believes to become the part one must melt their human qualities with that of the character to become one. This if forced however can become a case of ‘over acting’ something in which Nina in ‘The Seagull’ (Chekhov 1898) struggles with, her own ambition stops her from being able to ‘live the part’ and leaves her not feeling completely at ease in her part, forcing her to force her characters emotions which does not portray well on stage. Chekhov presents acting in many forms in his play showing us the different ways people act in ‘The Seagull’ first line about Masha’s costume when she says ‘I dress in black to match my life’ (Chekhov, 1898) portraying herself to be saddened by in life even though she is much better off than Medviedenko, Chekhov when giving advice on how to play Masha directed the actor away from focusing on external manifestations of sadness as emotion like sadness is not just portrayed through stereotypical frowning and crying but can be through ‘whistling’ what seems a trivial act but can be that of a subtle indication of inner drama (Allen, 2000) , considering that people ‘act’ every day in life when they portray themselves deceptively. Both Stanislavski and Chekhov believe that acting is in the subconscious and thus it is more instinctual.

References Allen, D. (2000) Performing Chekhov, London: Routledge. Chekhov, A. (1898) The Seagull: Project Gutenberg....


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