Reminder for Stanislavsky Summer.
First presentation is this coming Monday, June 8th at 7:30 p.m. at Prescott College Tucson Center, 2233 E. Speedway Blvd. Free and open to the public. Our discussion will be “Biographical and historical context, development of ideas for the Stanislavsky System.”
Just who was Stanislavsky, what did he contribute to the world of theatre, and why was or is it important? Strangely enough most people working in theatre cannot answer those things with accuracy or specifics. I would not and do not fault them for that fact. But, if you asked an Evolutionary Biologist who Darwin was, or a Therapist who Freud was, a Christian who Jesus was, or a Basketball Player who Oscar Robertson was, chances are they would know and be able to give some details of contribution by that person to their field of endeavor. Oh now Stanislavsky does have some “reputations’ out in the general world of theatre artists, a kind of hodge-podge of notions. He is a grandfatherly kind of guy who has some good, kind notes on how actors should behave and how they can be more sincere in their acting. He produced and directed very realistic plays. He ruined Chekhov’s plays when he directed them. He started emotional memory but then decided it ruined actors so he switched to physical actions. His System for acting is only good for realism but even then only if you like beats and intentions. Meyerhold, Brecht, Grotowski and others are in direct opposition to Stanislavsky - and Lee Strasberg just got it all wrong anyway. Those kinds of things make up the general perception of Stanislavsky and his work, his contributions. Then there are the more specialized rumors, myths and trendy thoughts that abound. Stella Adler was the only American Actor/Actress to work directly with Stanislavsky. The translations of his books are all wrong. He was a yogi-mystic.
First presentation is this coming Monday, June 8th at 7:30 p.m. at Prescott College Tucson Center, 2233 E. Speedway Blvd. Free and open to the public. Our discussion will be “Biographical and historical context, development of ideas for the Stanislavsky System.”
Just who was Stanislavsky, what did he contribute to the world of theatre, and why was or is it important? Strangely enough most people working in theatre cannot answer those things with accuracy or specifics. I would not and do not fault them for that fact. But, if you asked an Evolutionary Biologist who Darwin was, or a Therapist who Freud was, a Christian who Jesus was, or a Basketball Player who Oscar Robertson was, chances are they would know and be able to give some details of contribution by that person to their field of endeavor. Oh now Stanislavsky does have some “reputations’ out in the general world of theatre artists, a kind of hodge-podge of notions. He is a grandfatherly kind of guy who has some good, kind notes on how actors should behave and how they can be more sincere in their acting. He produced and directed very realistic plays. He ruined Chekhov’s plays when he directed them. He started emotional memory but then decided it ruined actors so he switched to physical actions. His System for acting is only good for realism but even then only if you like beats and intentions. Meyerhold, Brecht, Grotowski and others are in direct opposition to Stanislavsky - and Lee Strasberg just got it all wrong anyway. Those kinds of things make up the general perception of Stanislavsky and his work, his contributions. Then there are the more specialized rumors, myths and trendy thoughts that abound. Stella Adler was the only American Actor/Actress to work directly with Stanislavsky. The translations of his books are all wrong. He was a yogi-mystic.
There is perhaps a more practical and common sense view of Stanislavsky and his work that emerges when the all things are considered in their right context - an image of a man and his work that is exciting, profound and important. So, you see we have a lot to take on and it should be a good, fun and informative presentation and discussion. See you there!
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