Title: Michail Čechov a eurytmie Rudolfa Steinera
Variant title:
- Mikhail Chekhov and Rudolf Steiner's eurythmy
Source document: Theatralia. 2023, vol. 26, iss. 2, pp. 104-116
Extent
104-116
-
ISSN1803-845X (print)2336-4548 (online)
Persistent identifier (DOI): https://doi.org/10.5817/TY2023-2-7
Stable URL (handle): https://hdl.handle.net/11222.digilib/digilib.78985
Type: Article
Language
License: CC BY-NC-ND 4.0 International
Rights access
open access
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
Autor studie si klade za cíl porovnat pojetí herectví Michala Čechova a Rudolfa Steinera. Zkoumá, jak si odpovídají Steinerovo a Čechovovo učení ve třech základních konceptech Čechovovy techniky: vyšší Já, psychologické gesto a pravdivá představivost. Čechov začlenil učení eurytmie do výukových programů, které vytvářel a vedl, a proto v závěru autor hodnotí komplementární povahu Čechovova a Steinerova přístupu k tvorbě a vedení vzdělávacího programu pro herce a herečky.
The author of the study aims to compare Mikhail Chekhov's and Rudolf Steiner's concepts of acting. He examines how Steiner's and Chekhov's teachings correspond in three basic concepts of Chekhov's technique: the Higher Self, Psychological Gesture, and True Imagination. Chekhov incorporated the teachings of eurythmy into the training programs he created and led, and therefore, in the conclusion, the author assesses the complementary nature of Chekhov's and Steiner's approaches to creating and running training programs for actors and actresses.
References
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[18] STEINER, Rudolf. 2008 [GA279]. Eurytmie jako viditelná mluva. Př. Jan Dostal. Hranice: Fabula, 2008.
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[22] STEINER-VON SIVERS, Marie and Rudolf STEINER. 2014. Creative Speech: The Formative Process of the Spoken Word. Forest Row: Rudolf Steiner Press. 2014.
[2] ASHPERGER, Cynthia. 2008. The Rhythm of Space and the Sound of Time Michael Chekhov's Acting Technique in the 21st Century. Amsterdam/New-York: Rodopi B.V., 2008.
[3] BYCKLING, Liisa. 2000. Mikhail Chekhov v zapadnom teatre i kino [Michail Čechov in Western Theatre and Film]. St. Peterburg: Akademicheskii proekt, 2000.
[4] BYCKLING Liisa. 2007. Mikhaïl Tchékhov et la philosophie religieuse en URSS dans les années 1920 [online]. Revue Russe 29 (2007): 101–113. [citováno dne 13.10.2022]. Dostupné online na: https://www.persee.fr/doc/russe_1161-0557_2007_num_29_1_2307.
[5] BYCKLING, Liisa. 2019. Michael Chekhov, Spirituality, and the Soviet Theatre [online]. Culture Crossroads 14 (2019): 1: 127–138. [citováno dne 13.10.2022]. Dostupné online na: https://culturecrossroads.lv/index.php/cc/article/view/97.
[6] CHAMBERLAIN, Franc. 2003. Michael Chekhov: Pedagogy, Spirituality, and the Occult [online]. Academic Electronic Journal in Slavic Studies (2003): 4. Toronto: Slavic Quarterly. [citováno dne 13.10.2022]. Dostupné onlina na http://sites.utoronto.ca/tsq/04/chamberlain04.shtml.
[7] CHEKHOV, Michael. 1953. Être acteur, Technique du comédien. Paris: Pygmalion, 1953.
[8] CHEKHOV, Michael. 2006. L'imagination créatrice de l'acteur. Paris: Pygmalion, 2006.
[9] ČECHOV, Michail. 2017. Hercova cesta. O herecké technice. Př. Zoja Oubramová. Praha: AMU, KANT, 2017.
[10] CONDON, William S. and William D. OGSTON. 1971. Speech and body motion synchrony of the speaker-hearer. In David L. Horton and James J. Jenkins (eds.). Perception of Language. Columbus: Charles E. Merrill, 1971: 150–173.
[11] CONDON, William S. and Louis W. SANDER. 1974. Synchrony Demonstrated between Movements of the Neonate and Adult Speech. Child Development 45 (1974): 2: 456–462.
[12] CRISTINI, Monica. 2012. Rudolf Steiner al lavoro con l'attore: l'immaginazione creativa come chiave dello studio del personaggio [Rudolf Steiner při práci s hercem: tvůrčí imaginace jako klíč ke studiu postavy]. Acting Archives Review 2 (2012): 4: 36–67.
[13] CRISTINI, Monica. 2019. Psychological Gesture, Concentration and Meditation on Character Development with Rudolf Steiner and Michael Chekhov. Medicina nei secoli arte e scienza 31 (2019): 2: 335–354.
[14] KRANICH, Ernst-Michael. 2006. L'homme et son corps: anthropologie anatomique, physiologique et psychologique. Laboissière-en-Thelle: Triades, 2006.
[15] LECOQ, Jacques. 1997. Le corps poétique. Arles: Actes Sud, 1997.
[16] MAINTIER, Serge. Speech – Invisible Creation in the Air [online]. 2007. [citováno dne 21.1.2023]. Dostupné online na: https://www.youtube.com/watch?v=i6eFtohBEWA.
[17] SOUZENELLE DE, Annick. 2010. Symbolismus lidského těla. Př. Miroslav Šebela. Praha: Malverne, 2010.
[18] STEINER, Rudolf. 2008 [GA279]. Eurytmie jako viditelná mluva. Př. Jan Dostal. Hranice: Fabula, 2008.
[19] STEINER, Rudolf. 2009a [GA282]. Cours aux acteurs, Art de la parole et art dramatique. Yverdon-les-Bains: Éditions Anthroposophiques Romandes, 2009.
[20] STEINER, Rudolf. 2009b [GA277]. L'eurythmie, parole visible. Laboissière en Thelle: Triades, 2009.
[21] STEINER-VON SIVERS, Marie and Rudolf STEINER. Poetry and the Art of Speech [online]. London School of Speech Formation. 1981. [citováno dne 21.1.2023]. Dostupné online na: https://rsarchive.org/Lectures/GA281/English/LSF1981/PoeSpe_index.html.
[22] STEINER-VON SIVERS, Marie and Rudolf STEINER. 2014. Creative Speech: The Formative Process of the Spoken Word. Forest Row: Rudolf Steiner Press. 2014.