Constantin Stanislavsky, Training of the actor
"It is not a true actor who has, at one time or another, knowingly or unknowingly borrowed, some trails of this analysis, Constantine Stanislavski described thoroughly in his book" .
Stanislavki Constantine in The
Locandieria
Maria Knebel, Analysis Action
The Three Sisters (1900) and The Cherry Orchard
(1904) Compounds are MHAT, Theatre Art Moscow, which was founded in 1897 by Constantin Stanislavsky and Vladimir Nemirovich-Danchenko. The two filmmakers will direct a young avant-garde troupe. Chekhov's writing is new: simplicity, not to say banal situations and dialogues cover the social reality of the time and conceal an inner life that is exposed in correspondence with subtle gestures, behaviors, sounds, environment. Recurrent themes (the start, suicide or substitutes) seem to give the movement a null action. The characters suffer from external events without trying to get a grip on them, the rare initiatives have failed in the swamp of the lack of human warmth of a closed society, with the exception of The Cherry Orchard, with the rise and destructive dynamics of the bourgeoisie. The symbolist theater Biely considered this as both the ultimate outcome of realism and symbolism of the first approach, so unique and posterity possible. The merit of MHAT is that it always be felt by the particular stage of the processes of writing for an audience Chekhovian suffering the same ills. The Chekhov's plays have played a role in the development of 'system' Stanislavski : Search the text of the unspoken, rationale inner silences and gestures, which reflect the inner life of words and characters regardless of their best.
To be continued ...
I want to talk about the atmosphere backstage during performances of The Cherry Orchard
Although the piece begins with a great scene between LOPAHIN, Dunyasha and, later, Epikhodov, all those who participated in "arrival" , That is to say Ranevskaïa, Gaev, Ania, Pichtnik, Varia, Charlotta [...] * sat, until the opening of the curtain on a bench waiting for their entry. After the words of LOPAHIN-Leonidov: "Here it is, I think it's them! ", a prop, always the same, crossed, from the side opposite to where we were, and, holding in his hands a leather collar that was sewn bells, waved it rhythmically, gradually increasing the sound as he approached us. As soon as the sound of bells was heard, all those who participated in " arrival "
the example of the scene that the audience did as hearing, I realized once and for all my life with what delicacy means Stanislavski succeeded in convincing the audience of the truth of what took place.
As for "old" who had played
Once had heard the first notes of bells, all those who attended the scene of the arrival glided with incredible ease - the fruit of course a huge work - in singular sense of self of people who return to their country, have not slept all night, are seized by the cold damp air and spring one morning and are at once stirred by the joy of the return, the bitterness of losses and the acute feeling that life has gone wrong.
Me sidérait also the atmosphere prevailing on the bench before the start we got off the field. Knipper, Kachalov, Tarkhanov, Koreneva arrived, sat down, to say hello, sometimes exchanged phrases unrelated to the show, but at the same time they were already Knipper, Kachalov, Tarkhanov, but Koreneva Ranevskaïa, Gaev, Firs, Varia.
The enormous strength of the Art Theatre lay in the ability to live in the very core of the characters. It is very unfortunate that our youth do not want to believe that such a core - a very fine reconstruction of the entire nervous system - is not given easily and it is simply not possible to talk of God knows what in backstage and go right after the master of the complex personality that plays. * "at the time of my debut as he was OLKnipper-Chekhova, VIKatchalov, LMKoreneva" : the comedians of the first generation of the Art Theatre.
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