anislavski
He takes the approach that the actors should really inhabit the role that they are playing. So the actor shouldn’t only know what lines he needs to say and the motivation for those lines, but also every detail of that character’s life offstage as well as onstage. productions were naturalistic
Realism was a 19th-century theatrical movement, seeking to portray real life on the stage. Stanislavski was a committed follower of realism throughout his working life.
Stanislavski had a a company named “the moscow arts theatre” which was founded in 1898, it was influential and a successful theatre until it divided and split into two in 1987.
Experimentation was his approach to theatre elements: The performers perform the action realistically, without using techniques like addressing the audience or a tableu, which immediately destroy any illusion of real life being
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The super-objective is an over-reaching objective, probably linked to the overall outcome in the play. We use the word super-objective to characterise the essential idea, the core, which provided the impetus for the writing of the play.
A character’s objectives are likely to be stages in the journey towards the super-objective. If that journey is perceived as a clear path to the super objective, then you have your through line.
Stanislavski believed that an actor needed a sense of isolation in order to produce a characterisation and avoid unnecessary tension. They needed to concentrate on themselves.
Stanislavski felt that an inner and an outer tempo and rhythm were vital if you were to enact movements truthfully and link them to the expression of emotions and feelings. He linked tempo to the speed of an action or feeling and the rhythm to the intensity or depth of the experience.
Stanislavski didn’t want to accept that an actor couldn 't measure up to the physical demands of a role. The demands of a role may not just be athletic, but may have to do with vocal power or intensity of