Communism
Realism and Communism grew with each other during the Soviet Era as Realism became the de facto art style of the regime. It is clear there is a connection between them as realism was opposed to bourgeoisie classical theatre styles. Realism also represented the person of the street, the common every day person, in situations that the general public could relate too. This representation was very in line with Communist ideology so is likely why it was adopted in Russia. Realism is very different to traditional theatre styles, such Melodrama, that used generic, stereotyped characters. These styles would have also been also have been associated with pre Communist Russian society.
Playwrights
Michael Chekov - Chekov wrote plays that were written to performed using an as of then non existent realism acting method
Tolstoy - Tolstoy was an influential Soviet playwright. The Moscow Arts theatre put on productions of many of Tolstoy works.
Moscow Arts Theatre
Vladimir Nemirovich-Danchenko - Was the founder of the Moscow Arts Theatre. He was integral to the development of the system. Although he did not author his understanding, many of his fundamental ideas were adopted by Stanislavski with 'The System
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Stanislavski The System. Created a series of books that provide techniques and incite in developing characters. Exploration of the difference between mechanical (Presentational) and truthful (Representational) acting. Creating emotions and expression based on an original created character, not the actor using pre conceived expressions of those emotions. Stanislavskis techniques are not the only way forward, but they are a useful collection of techniques that an actor may try to help create character. Later practitioners have adapted or evolved different parts of Stanislavskis System into their own methodology. I do not believe Stanislavski wrote a definitive guide, I believe he would have continued to update his knowledge to be inclusive of new understanding and advancement in techniques. The most important aspects that Stanislavski emphasised is to differentiate between presentational and representational acting. To create performances with authentic emotions and original characters. He also emphasised the use of the imagination, relaxation and the study of script.
(Meyerhold) - Was part of this theatre but was focused on Biomechanics.
Michael Chekov Nephew of Anton Chekov. He focused on Psychological Gesture. He used the psychology of creating emotion via actions and attaching emotions to actions. Chekov was opposed to emotional memory techniques. He believed in using only the actors imagination and to create truthful emotions from the characters perspective. This is because when an actor creates an emotion from their own experience, they will be expressing their emotion, not the characters. The emotion is real, but not representational of the character. The theory behind the technique is that our m movement and action of the body will manipulate and create emotions. It originally comes from psychological theories, where a person may see something they are afraid of, they will run (Physically) and then feel the fear of the situation. In real life, we are more likely to feel the fear after being stimulated. However, we can use actions do change our emotions. If we are productive, or achieve goals, or even go for a walk, this will change our feelings and emotions. There is no direct stimulus, the emotion has achieved directly from our actions.
Group Theatre: 'The Method'
The Group Theatre was formed in the US by performers who were inspired by Stanislavskis system after seeing performances in the style for the first time. The practitioners are notable for producing many of the first film stars such as Marlon Brando, Robert De Niro, Al Pacino and James Dean. It is likely that film stars from the era would have most likely trained with one of the practitioners who grew from the Group Theatre. Their methods have become almost the de facto style for many film actors of the modern era, particularly in the United States.
Strasberg Emotional Memory and Relaxation
Looking within ones self for the memories and emotions and applying them to the character to create realistic emotions. In life people will go through varying experiences and emotions. Memories could include falling in love, break ups, losing family, difficult social situations, awkward situations, good or bad times. The memory of this situation is embedded within the person. The actors are encouraged to look into themselves for the memory that is attached to certain situations. The experience does not need to be direct, but needs to have a similar emotion attached to it. For example, if the character in the performance has lost someone, the actor may have lost a close family member or friend in their life. They will be asked to connect their own personal emotional experience to the characters situation. When the character loses someone, the actor recalls the time when they lost someone. The tap into the memory to release the emotion associated with that memory. Therefore, when the character suffers grief, the actors are using their own real life experiences of grief. If the actor is skilled, they will be able to unlock the memory and this will create a truthful performance of grief. The emotion expressed, is not presentational, it is not an actor pretending to show grief, but instead, the genuine emotion found within the actor. Perhaps many would not notice the difference, but a real emotion is more likely to resonate to an audience and enhance the performance.
This method is extremely taxing on the actor, as they are using real life experiences that at personal and potentially traumatic. The method has a good theory behind it, but Stanislavski himself eventually stopped using this practice. A character is a fictional and imagined concept. Their memories are not those of the actor, but those of the character. If a character is affected by an event in the play, it is the character emotions that should be expressed. However, in film, particular with film, stars, they are often not playing in character but applying themselves to a situation. IN this instance, emotional memory is more effective than imagined memory.
Adler - Imagination. Creating emotions through character.
Meisner - Meisner Technique. Create emotions through repetition. Reacting to observation. Being in the moment.
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