Stanislavsky and Screen Actor Training by Stamatiou, Evi; Carnicke, Sharon Marie;

Rövid leírás:

Stanislavsky and Screen Actor Training is a collection of essays mapping the acting field’s current engagement with Stanislavsky practices and concepts for training in the screen industries across continents.

Hosszú leírás:

Stanislavsky and Screen Actor Training is a collection of essays mapping the acting field’s current engagement with Stanislavsky practices and concepts for training in the screen industries across continents. 

This edited volume collates the efforts of teachers of screen acting to identify, investigate, articulate, document, and disseminate Stanislavsky-inspired practical tools for actor training for the screen. Providing reflections from instructors and teachers of acting for the screen, it interrogates the ways in which the actor’s craft affects cinematic processes and experiences through the lens of Stanislavskian methods. Part one looks at the ways in which Stanislavsky’s concepts can be applied within the screenacting studio. Then, part two moves on to investigate the process of active analysis within the studio. Part three presents ways in which Stanislavsky’s methodologies can be adapted for the screenacting process. Finally, part four looks at Stanislavsky-inspired pedagogical innovations for training screen actors. Support material for this book is available at www.routledge.com/9781032986081  

Stanislavsky And... is a series of multi-perspectival collections that bring the enduring legacy of Stanislavskian actor training into the spotlight of contemporary performance culture, making them ideal for students, teachers, and scholars of acting, actor training, and directing. 

Tartalomjegyzék:

Introduction  

A. Positioning The Anthology Within Contemporary Screen Actor Training

B. Stanislavsky on Cinema and Film Acting 

Part 1: Stanislavsky’s concepts in the screenacting studio  

1. Visualization: Stanislavsky and Rosenstein on Fostering Imagination and Concentration  

2. “Fragmented” Radiation [Izlucheniya] for Camera 

3. Accessing Stanislavsky’s state of ‘experiencing’ [Perezhivanie] for the screen actor  

4. Presence [Prisutstviye] Without Rehearsal: States of Being in Daily Television Production 

Part 2: Active Analysis in the screenacting studio  

5. Prompting Inner Monologue through Active Analysis  

6. Embodying Active Analysis and Inner Monologue for the Screen  

7. Reimagining Active Analysis: Cultivating Spontaneous Actor Responses for the Screen 

Part 3: Adapting Stanislavsky for screenacting processes  

8. Exploring Internal vs. External Tempo-Rhythm: Live-Editing in Screen Acting Training 

9. The Film Actor Prepares with Michael Chekhov and SynthAnalysis™ 

10. In-Camera Études: Delivering Purposeful, Precise, and Readable Performances in Every Take 

Part 4: Pedagogical Innovations Inspired by Stanislavsky  

11. Discovering Sensorial Shakespeare Through Language and Focal Points  

12. Bridging Practices: Enhancing Mike Leigh’s Method Through Stanislavsky’s Tools 

13. Ethnoacting in VR for Resilience in Screen Actors: a Vakhtangov-inspired intervention  

Index