Analysis Of Miss Julie By Stanislavski

On the other hand, some people say the movie displays emotions and the scenes in realistic ways that make each of the characters more believable as it cannot be done on paper. It does make sense in the idea that the characters’ all seem more realistic in what they say due to elements such as body language. However, the film does not pull readers to the story as the play does, and characters become harder to believe as the personal feel is lacking. The play has elements within that makes the reader wonder what is happening and it leads to an involvement as if he/she were there. Therefore, the idea that the film displays emotions make sense, it just does not pull to the reader.

To portray these characters and make them real to the audience, as a group we had to use various theatrical techniques, including the Stanislavskian realistic acting methods and we explored and used a variety of different Brechtian techniques. Our chosen form of "Tragedy" was “War Stories", and

Constantin Stankislavski and Uta Hagan are considered to be two greats in the art of acting. After reading the excerpts from the packet, and the chapters in the book it is really understandable as to why they are so respected in this art. When taking a look into their work there are some similarities about their craft and technique, however there are also some differences, as Utah Hagen branched out as did many others. In this paper, I’ll be taking a look at where these pioneers of their craft share similar methods, and where they differentiate in the use of their technique.

Once actors can find some direction or purpose (objective or super objective) then it is easier, according to Stanislavski, to immerse themselves in the character. He noted

Realism is both reliant on and thoroughly undermined by the uncanny. Realism was prominent during the 19th and 20th centuries. According to the Oxford Dictionary of Literary Terms realism is a ‘general attitude’ of literature that ‘rejects idealization, escapism and other extravagant qualities of romance.’ It must be noted that realism is not simply a realistic “slice of life” but a ‘system of conventions producing a lifelike illusion.’ The uncanny is a ‘kind of disturbing strangeness evoked’ in literature. Freud’s 1919 essay The Uncanny, or Das Unheimlich, discusses the subject in detail, stating that the uncanny is a subject which ‘arouses

This greatly impacts the mood of the play as at times when the play runs high on emotion and is greatly reliant on the “in the moment” the mood can change to melancholic as a feeling of nostalgia and poignancy as the fourth wall is broken and the situations are viewed by the third person.

== == == == Stanislavski believed that theatre was about working together, he recognized the need to improve the theatre practice of his time and saw actors needed methods to help them act well and consistently.

Bertolt Brecht and Constantin Stanislavski are regarded as two of the most influential practitioners of the twentieth century, both with strong opinions and ideas about the function of the theatre and the actors within it. Both theories are considered useful and are used throughout the world as a means to achieve a good piece of theatre. The fact that both are so well respected is probably the only obvious similarity as their work is almost of complete opposites.

Nearly every character in the play at some point has to make inferences from what he or she sees, has been told or overhears. Likewise, nearly every character in the play at some point plays a part of consciously pretending to be what they are not. The idea of acting and the illusion it creates is rarely far from the surface -

In Sharon Pollock’s play “Doc”, memory is a central aspect that the entirety of the play revolves around. Memory is staged as fluid, dynamic and as an important element in one’s understanding of one’s self. In this play, it is through memories that Catherine gains a new perspective of herself, other characters, and past events. This representation of memory is developed through dramatic techniques such as set and setting in the way the play is staged to transcend both time and space through the shared memories of Ev and Catherine as well as certain props. This representation is also shown through the technique of plot and design in the way the timeline of memories shifts as Catherine sees her childhood memories in a new light.

It was Stanislavski’s and Strasberg's intent to make method the staple of acting. The method has single handedly elevated some of the greatest performances in history. It helped actors go from superb to immense. Robert De Nero is a method actor. Many will say De Nero had the greatest acting performance of all time in the movie “Raging Bull” in 1981. His performance changed his career and also won him an academy award that year. De Nero would go on to have a hall of fame type career and in many ways the method had a big part to play in it. As much upside there is to method acting there is a dark side to it as well. There is a danger in that emotional connection that many actors feared could be catastrophic. A prime example was an actor by the

In ‘How to manage the transition from the rehearsal room to the theatre for the actors,’ Mitchell points out that the negotiation on the transition from the rehearsal room to the theatre must be deliberate and unhurried (200). Here, she warns that the actors would feel anxious and unconfident, so she suggests four ways to “reduce” the actors’ fear:

Stanislavsky wrote three novels that discuss his acting method; An Actor Prepares, Building a Character, and Creating a Role. These books are from the perspective of a

I believe this is one of the most effective ways of acting, but in modern cinema this techniques has often been described as “dangerous” to the actor’s mental health. This is because the actor creates a new character by using his own experiences and reawakens emotional trauma that is part of his own life, and not that of solely the character.

Constantin Stanislavski believed that it was essential for actors to inhabit authentic emotion on stage so the actors could draw upon feelings one may have experienced in their own lives, thus making the performance more real and truthful. Stanislavski then created the technique, method acting, to do exactly that. Not only can method acting be rewarding, there are psychological consequences as well. It is important to study method acting so actors can know the dangers and psychological effects it can create. It can also help scientists understand theory of mind; the ability to gain the mindset of another person. Another subject method acting can help with is emotional recall and the emotion regulation it takes to use