Název: Systém a metody : některé aspekty přenosu Stanislavského systému do Spojených států
Variantní název:
- System and methods : some aspects of the transmission of the Stanislavsky system to the United States
Zdrojový dokument: Theatralia. 2023, roč. 26, č. 2, s. 30-58
Rozsah
30-58
-
ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/TY2023-2-4
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/digilib.78982
Type: Článek
Jazyk
Licence: CC BY-NC-ND 4.0 International
Přístupová práva
otevřený přístup
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
Studie se zaměřuje na přenesení Stanislavského systému do Spojených států prostřednictvím emigrantů z různých souborů a tří emigračních vln a na působení první generace amerických hereckých pedagogů inspirovaných postupy, které emigranti v první polovině 20. století americkým studentům předávali. Autor ve studii shrnuje jak fakta, která jsou dobře známa (například působení American Laboratory Theatre či Group Theatre), tak méně známé linie přenosu formou působení jednotlivých pedagogů, kteří zakládali vlastní herecká studia či školy. Akcentuje vliv Vachtangova, především pozdní fáze jeho divadelních výzkumů, a hlavní problematický moment americké tradice v linii Stanislavského, a sice důraz na užívání emocionální paměti, kterou jako zvláštní druh cvičení prosazoval hlavně Lee Strasberg.
This paper focuses on bringing of the Stanislavsky system to the United States by emigrants, who belonged to various troupes, in three different waves of emigration, as well as on the work of the first generation of American teachers of acting inspired by the practices that the aforementioned emigrants passed on to American students in the first half of the 20th century. In this study, the author summarises both well-known facts (such as the work of the American Laboratory Theatre and Group Theatre) and lesser-known paths of transmission through the acting studios or schools founded and owned by individual educators. The article stresses the influence of Vakhtangov, especially the late phase of his theatre research, and points out to the main problem with the American tradition of the reception of Stanislavsky's teachings, that is the emphasis on the use of emotional memory, which was mainly promoted by Lee Strasberg as a specific kind of exercise.
Note
Výzkum byl podpořen z grantu "Stanislavskij a transmise systému" Grantové soutěže AMU v roce 2021 (identifikační číslo nebylo přiděleno).
Reference
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[2] AQUILINA, Stephan. 2020. Modern Theatre in Russia: Tradition Building and Transmission Processes. London: Methuen Drama, 2020.
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[25] MEKLER, Eva. 1988. The New Generation of Acting Teachers. New York: Penguin Books, 1988.
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[29] SHEVTSOVA, Maria. 2020. Rediscovering Stanislavsky. Cambridge: Cambridge University Press, 2020.
[30] SMELIANSKY, Anatoly. 2014. Silhouette of a destiny: The letters of Stanislavsky. In Arnold R. White (ed.). The Routledge Companion to Stanislavsky. London/New York: Routledge, 2014: 82–100.
[31] STANISLAVSKIJ, Konstantin S. 1946. Moje výchova k herectví (Z deníku hereckého adepta). Př. Jaroslav Hulák. Praha: Athos, 1946.
[32] STRASBERG, Lee. 2022. Vysněná vášeň. Výklad metody herecké práce. Př. Jan Heller. Praha: Akademie múzických umění v Praze, 2022.
[33] WATERMEIER, Daniel. 1999. Actors and Acting, In Don B. Wilmeth and Christopher Bigsby (eds.). The Cambridge History of American Theatre Vol.II. Cambridge: Cambridge University Press, 1999: 446–486.
[2] AQUILINA, Stephan. 2020. Modern Theatre in Russia: Tradition Building and Transmission Processes. London: Methuen Drama, 2020.
[3] ARONSON, Arnold. 2000. American Theatre in Context: 1945 – Present. In Don B. Wilmeth and Christopher Bigsby (eds.). The Cambridge History of American Theatre. Vol. III. Cambridge: Cambridge University Press, 2000: 87–162.
[4] BLAIR, Rhonda. 2008. The Actor, Image and Action. Acting and Cognitive Neuroscience. London/New York: Routledge, 2008.
[5] BOLESLAVSKÝ, Richard. 1948. Prvních šest lekcí. Př. Kateřina Borková. Praha: Československé filmové nakladatelství, 1948.
[6] BOLESLAVSKY, Richard. 2020. Acting: The First Six Lessons. New Delhi: General Press, 2020.
[7] BUTLER, Isaac. 2022. The Method: How the twentieth century learned to act. New York: Bloomsbury, 2022.
[8] CARNICKE, Marie Sharon. 2009. Stanislavsky in Focus, An Acting Master for the Twentieth Century. London/New York: Routledge, 2009.
[9] CARNICKE, Marie Sharon. 2023. Dynamic Acting Through Active Analysis. London/New York/Dublin: Methuen Drama, 2023.
[10] CLURMAN, Harold. 1983. The Fervent Years. New York: DaCapo Press, 1983.
[11] GORDON, Mel. 1987. The Stanislavsky Technique: Russia. Lanham: Applause Theatre Book Publishers, 1987.
[12] GORDON, Mel. 2010. Stanislavsky in America: An Actors Workbook. London/New York: Routledge, 2010.
[13] GORDON, Mel and Laurie LASSITER. 1984. Acting Experiments in the Group. The Drama Review 28 (1984): 4: 6–12.
[14] GRAY, Paul et al. 1964. The Reality of Doing. The Tulane Drama Review 9 (1964): 1: 136–155.
[15] HANČIL, Jan. 1991. Sandy Meisner a jeho metoda výuky herectví. Amatérská scéna 5 (1991): 2–4.
[16] HANČIL, Jan. 2012. Mluví 'stanislavskij' anglicky? DISK 42 (2012): 35–53.
[17] CHUBBUCK, Ivana. 2004. The Power of the Actor: The Chubbuck Technique – The 12-Step Acting Technique That Will Take You from Script to a Living, Breathing, Dynamic Character. New York: Penguin Random House, 2004.
[18] KAZAN, Elia. 1997. A Life. New York: Da Capo Press, 1997.
[19] KRASNER, David. 2010. Strasberg, Adler and Meisner: Method Acting. In Alison Hodge (ed.). Actor Training. London and New York: Routledge, 2010: 144–164.
[20] KRASNER, David. 2014. Stanislavsky's system, sense-emotion memory, and physical action/active analysis. American interpretations of the system's legacy. In Andrew R. White (ed.). The Routledge Companion to Stanislavsky. London/New York: Routledge, 2014: 195–211.
[21] LEDOUX, Joseph. Synaptic Self: How our brains become who we are. New York: Viking, 2002.
[22] LEWIS, Robert. 1962. Emotional Memory. The Tulane Drama Review 6 (1962): 4: 54–56.
[23] LUKAVSKÝ, Radovan. 1981. Být nebo nebýt, monology o herectví. Praha: Státní pedagogické nakladatelství, 1981.
[24] McTEAGUE, James H. 1993. Before Stanislavsky: American Professional Acting Schools and Acting Theory. 1875–1925. New York: Scarecrow Press, 1993.
[25] MEKLER, Eva. 1988. The New Generation of Acting Teachers. New York: Penguin Books, 1988.
[26] MEISNER, Sanford and Dennis LONGWELL. 1987. Sanford Meisner on Acting. New York: Vintage Books, 1987.
[27] PITCHES, Jonathan. 2011. Russians in Britain. London and New York: Routledge, 2011.
[28] SENELICK, Laurence (ed.). 1992. Wandering Stars: Russian Emigré Theatre, 1905–1940. Studies in Theatre History and Culture. Iowa City: University of Iowa Press, 1992.
[29] SHEVTSOVA, Maria. 2020. Rediscovering Stanislavsky. Cambridge: Cambridge University Press, 2020.
[30] SMELIANSKY, Anatoly. 2014. Silhouette of a destiny: The letters of Stanislavsky. In Arnold R. White (ed.). The Routledge Companion to Stanislavsky. London/New York: Routledge, 2014: 82–100.
[31] STANISLAVSKIJ, Konstantin S. 1946. Moje výchova k herectví (Z deníku hereckého adepta). Př. Jaroslav Hulák. Praha: Athos, 1946.
[32] STRASBERG, Lee. 2022. Vysněná vášeň. Výklad metody herecké práce. Př. Jan Heller. Praha: Akademie múzických umění v Praze, 2022.
[33] WATERMEIER, Daniel. 1999. Actors and Acting, In Don B. Wilmeth and Christopher Bigsby (eds.). The Cambridge History of American Theatre Vol.II. Cambridge: Cambridge University Press, 1999: 446–486.