Konstantin Sergeevich Stanislavsky (1863-1938),
Today, all the best actors around the world play according to the “Stanislavsky system”.
Stanislavsky's activities had significant influence on modern Russian and world theater and cinema.
Konstantin Stanislavsky (left) and V. Nemirovich-Danchenko
Theater activities Stanislavsky began in the summer of 1898 in the dacha town of Pushkino near Moscow. Here he worked with the Moscow troupe Art Theater(Moscow Art Theater), addressing which Stanislavsky said: “We strive to create the first reasonable, moral public theater, and this high goal we dedicate our lives.”
True to his word, he, in fact, devoted his entire life to the Art Theater, precisely in its performances, in his creative ethics, realizing his idea of what art should be.
Relying on the rich creative practice and statements of his outstanding predecessors and contemporaries, Stanislavsky laid a solid foundation modern science about the theater, created a school, a direction in performing arts, which found theoretical expression in the so-called Stanislavsky system.
The essence of the Stanislavsky system
is that the actor must not just “portray” his character, but how to become him - he must feel and think not for himself, but for his hero. It is Stanislavsky’s system that implies that the actor “gets used to” the role as much as possible. For example, to play a teacher, you need to imagine yourself as a teacher: remember your teachers and take from them the behavior, manners, gestures that are characteristic of a teacher. Then the audience will not just “watch” the performance, but empathize with the characters.
But the success of productions “according to Stanislavsky” is determined not by the performance of individual performers, but by the ensemble of all participants in the performance, united by a single creative method and a common understanding of the idea of the play. Stanislavsky sought such unity of all elements of the performance, in which the acting, scenery, light, and sound design would create one inextricable whole, a single artistic image.
The theater's performances abroad strengthened Stanislavsky's fame and authority and aroused great interest in his system throughout the world.
Stanislavsky wrote his autobiographical book "My life in art", one of best works world memoir literature.
“Art,” said Stanislavsky, “cannot stand still. It must constantly develop, stretch somewhere forward, or its decrepitude and slow death will begin.”
"Theater begins with a hanger."
Stanislavsky made a huge contribution to the national and universal human culture, enriched the world with new artistic values, expanded the boundaries of human knowledge. According to the recognition of the greatest masters of the foreign stage, all modern theater uses the legacy of the great Russian director.
Konstantin Sergeevich Stanislavsky is buried at Novodevichy Cemetery in Moscow.
Leontievsky Lane in Moscow (in the area of Tverskaya Street) was previously named after Stanislavsky, in which in house 6 in 1920-38. he lived and where Stanislavsky’s museum-apartment was opened in 1948 (in this apartment Stanislavsky prepared performances with artists and taught classes to the youth of the Opera and Drama Studio). Today the lane has been returned historical name- Leontievsky.
Memorial plaques have been installed on Pushechnaya Street, 9, and Leontyevsky Lane, 6.
Stanislavsky's name was given in Moscow Drama theater And Musical theater Moscow (Theater named after Stanislavsky and Nemirovich-Danchenko).
By the way, when an actor played a role unreliably during a rehearsal, Stanislavsky shouted: “I don’t believe it!” Indeed, will the viewer believe, for example, that on stage the director of a plant is scolding the head of the workshop if the actor-director mutters something sluggishly and inaudibly, and the actor-subordinate stands with his hands in his pockets and grins?! This “I don’t believe it” can still be heard in all theaters around the world and on all film sets in a variety of languages!
On this page you will learn about the most famous acting teachers and great theater figures who created leading acting schools. Among them we can highlight such representatives of the performing arts as Stanislavsky, Meyerhold, Chekhov, Nemirovich-Danchenko and Berhold Brecht. All these people made significant contributions to performing arts. And therefore, if you see yourself as an aspiring actor, this article will be useful to you.
(1863 - 1938), famous Russian actor and a director who is the founder of the most famous actor training system. Stanislavsky was born in Moscow, in large family famous industrialist, who was related to Mamontov and the Tretyakov brothers. He began his stage activities in 1877 in the Alekseevsky circle. The aspiring actor Stanislavsky preferred characters with a bright character that gave the opportunity for transformation: among his favorite roles he named the student Megrio from the vaudeville “The Secret of a Woman” and the barber Laverger from “Love Potion”. Treating his passion for the stage with his usual thoroughness, Stanislavsky diligently studied gymnastics, as well as singing with the best teachers in Russia. In 1888, he became one of the founders of the Moscow Society of Art and Literature, and in 1898, together with Nemirovich-Danchenko, he founded the Moscow Art Theater, which exists to this day.
Stanislavsky School: “Psychotechnics”. The system named after him is used all over the world. The Stanislavsky school is a psychotechnics that allows the actor to work both on his own qualities and on the role.
Firstly, an actor must work on himself through daily training. After all, the work of an actor on stage is a psychophysical process in which external and internal artistic data are involved: imagination, attention, ability to communicate, sense of truth, emotional memory, sense of rhythm, speech technique, plasticity, etc. All these qualities need to be developed. Secondly, Stanislavsky paid great attention the actor’s work on the role, culminating in the organic merging of the actor with the role, transformation into the image.
The Stanislavsky system formed the basis of the training on our website, and you can read more about it in the first lesson.
(1874-1940) - Russian and Soviet theater director, actor and teacher. He was the son of the owner of a vodka factory, a native of Germany, a Lutheran, and at the age of 21 he converted to Orthodoxy, changing his name Karl-Kazimir-Theodor Meyerhold to Vsevolod Meyerhold. Passionately interested in theater in his youth, Vsevolod Meyerhold successfully passed the exams in 1896 and was immediately admitted to the 2nd year at the Music and Drama School of the Moscow Philharmonic Society in the class of Vladimir Ivanovich Nemirovich-Danchenko. In 1898-1902, Vsevolod Meyerhold worked at the Moscow Art Theater (MAT). In 1906-1907 he was the chief director of the Komissarzhevskaya Theater on Ofitserskaya, and in 1908-1917 - at the St. Petersburg Imperial Theaters. After 1917, he led the “Theatrical October” movement, putting forward a program for a complete revaluation of aesthetic values and the political activation of the theater.
Meyerhold system: “Biomechanics”. Vsevolod Meyerhold developed the symbolic concept of “conventional theater”. He affirmed the principles of “theatrical traditionalism” and sought to return brightness and festivity to the theater as opposed to the realism of Stanislavsky. The biomechanics he developed is a system of acting training that allows you to move from external to internal transformation. The degree to which the actor will be perceived by the audience depends on the accurately found movement and correct intonation. Often this system is contrasted with the views of Stanislavsky.
Meyerhold was engaged in research in the field of Italian folk theater, where expressive body movements, postures and gestures play an important role in creating a performance. These studies convinced him that the intuitive approach to a role should be preceded by its preliminary coverage, consisting of three stages (this is called the “game link”):
- Intention.
- Implementation.
- Reaction.
IN modern theater biomechanics is one of the integral elements of actor training. In our lessons, biomechanics is considered as an addition to Stanislavsky’s system, and is aimed at developing the ability to reproduce the necessary emotions “here and now.”
(1891-1955) - Russian and American actor, theater teacher, director. Mikhail Chekhov was the nephew of Anton Pavlovich Chekhov on his father, who was Anton Pavlovich's older brother. In 1907, Mikhail Chekhov entered the Theater school named after A.S. Suvorin at the theater of the Literary and Artistic Society and soon began to successfully perform in school plays. In 1912, Stanislavsky himself invited Chekhov to the Moscow Art Theater. In 1928, not accepting all the revolutionary changes, Mikhail Alexandrovich left Russia and went to Germany. In 1939, he moved to the USA, where he created his own acting school, which was extremely popular. Marilyn Monroe, Clint Eastwood and many other famous Hollywood actors passed through it. Mikhail Chekhov occasionally acted in films, including Hitchcock's Spellbound, for which he was nominated for an Oscar in the category Best Actor background."
Chekhov's theatrical principles. In his classes, Chekhov developed his thoughts about the ideal theater, which is associated with the actors’ understanding of the best and even divine in man. Continuing to develop this concept, Mikhail Chekhov spoke about the ideology of “ ideal person”, which is embodied in the future actor. This understanding of acting puts Chekhov even closer to Meyerhold than to Stanislavsky.
In addition, Chekhov pointed out the diverse stimulants of the actor’s creative nature. And in his studio he paid great attention to the problem of atmosphere. Chekhov considered the atmosphere on the stage or set as a means of facilitating the creation of a full-fledged image of the entire performance, and as a method for creating a role. The actors trained by Chekhov performed a large number of special exercises and sketches that made it possible to understand what the atmosphere is, according to Mikhail Alexandrovich. And the atmosphere, as Chekhov understood it, is a “bridge” from life to art, the main task which consists in creating various transformations of the external plot and the necessary subtext of the events of the play.
Mikhail Chekhov put forward his own understanding of the actor’s stage image, which is not part of Stanislavsky’s system. One of the essential concepts of Chekhov's rehearsal technique was the “theory of imitation.” It consists in the fact that the actor must first create his image solely in the imagination, and then try to imitate its internal and external qualities. On this occasion, Chekhov himself wrote: “If the event is not too fresh. If it appears in consciousness as a memory, and not as directly experienced at a given moment. If it can be assessed by me objectively. Anything that is still in the sphere of egoism is unfit for work.”
(1858-1943) – Russian and Soviet theater teacher, director, writer and theater figure. Vladimir Nemirovich-Danchenko was born in Georgia in the city of Ozurgeti into a Ukrainian-Armenian family of a nobleman, landowner of the Chernigov province, officer Russian army, who served in the Caucasus. Vladimir Ivanovich studied at the Tiflis gymnasium, from which he graduated with a silver medal. Then he entered Moscow University, which he successfully graduated from. Already at the university, Nemirovich-Danchenko began to publish as a theater critic. In 1881, his first play “Rose Hip” was written, and a year later it was staged by the Maly Theater. And starting from 1891, Nemirovich-Danchenko already taught at the drama department of the Music and Drama School of the Moscow Philharmonic Society, which is now called GITIS.
Nemirovich-Danchenko in 1898, together with Stanislavsky, founded the Moscow Art Theater, and until the end of his life he headed this theater, being its director and artistic director. It is worth noting that Nemirovich-Danchenko worked under a contract in Hollywood for a year and a half, but then returned to the USSR, unlike some of his colleagues.
Stage and acting concepts. Stanislavsky and Nemirovich-Danchenko created a theater that had a huge influence on the development of Soviet and world art. In their spirit creative principles, which are quite similar, brought up the largest Soviet directors and actors. Among the features of Vladimir Ivanovich, one can highlight the concept he developed about the system of “three perceptions”: social, psychological and theatrical. Each type of perception must be important for the actor, and their synthesis is the basis of theatrical skill. The Nemirovich-Danchenko approach helps actors create vivid, socially rich images that correspond to the ultimate goal of the entire performance.
Berholt Brecht
(1898 -1956) - German playwright, poet, writer, theater figure. Bertholt studied at public school Franciscan monastic order, then entered the Bavarian Royal Real Gymnasium, which he successfully completed. First literary experiments Brecht dates back to 1913; from the end of 1914, his poems, and then stories, essays and theater reviews, regularly appeared in the local press. In the early 20s, in Munich, Brecht tried to master filmmaking, wrote several scripts, based on one of them he made a short film in 1923. During the Second World War he left Germany. IN post-war years the theory of “epic theater”, put into practice by Brecht the director, opened up new possibilities for stage art and had a significant influence on the development of theater in the 20th century. Already in the 50s, Brecht's plays became firmly established in the European theatrical repertoire, and his ideas in one form or another were adopted by many contemporary playwrights.
Epic theater. The method of staging plays and performances created by Berholt Brecht is to use the following techniques:
- inclusion of the author himself in the performance;
- the alienation effect, which suggests a certain detachment of actors from the characters they play;
- combining dramatic action with epic storytelling;
- the principle of “distancing”, which allows the actor to express his attitude towards the character;
- the destruction of the so-called “fourth wall” separating the stage from the auditorium, and the possibility of direct communication between the actor and the audience.
The technique of alienation turned out to be a particularly original way of looking at acting, which completes our list of leading acting schools. In his writings, Brecht denied the need for the actor to get used to the role, and in other cases he even considered it harmful: identification with the image inevitably turns the actor into either a simple mouthpiece for the character or his lawyer. And sometimes in Brecht’s own plays, conflicts arose not so much between the characters, but between the author and his heroes.
Once upon a time, many years ago, I studied at school in a provincial town. For as long as I can remember, I have always been inquisitive and emotional. There have been many interesting discoveries and observations in my life. In general, it's very interesting topic- awakening human soul, discovering something new for yourself, something that others know, but you yourself didn’t know yet. One of the most attractive things in childhood was the radio. Almost every day we listened to the All-Union Radio, and also the very beloved and intelligent Leningrad Radio. The radio was literally a magical thing for me as a child! Then there was no mobile phones, no Skype, no Internet. One of the main means of understanding the world was this radio receiver. He carried you instantly to any point on the earth, he brought the voices of long-gone people, he helped you get acquainted with nature and taught you to love it, he brought the great classic literature and poetry!
One of my greatest childhood experiences was radio plays. In distant childhood, it seemed that people lived in this black box! They are always busy with something! Now the mortally wounded Cyrano de Bergerac reveals his secret to Roxane, and she suddenly learns with shock that she loved the wrong person, but who she should have loved, she is now losing forever. Here Sherlock Holmes and Dr. Watson are unraveling another mystery. Here Vera Filippovna from Ostrovsky’s play “The Heart is Not a Stone” lives locked up with her rich old husband, and does not complain about her fate, remaining a good Christian, but Vassa Zheleznova tries to take almost the whole world into her hands, but unexpectedly falls and dies, stricken with illness. We can talk about these impressions endlessly! All-Union Radio became my main educator in childhood, instilling a taste for good literature, poetry, the Russian language, and the wonderful voices of great artists.
Listening to the radio and reading books, I began to recognize many theater names, and very often I came across the names of Stanislavsky and Nemirovich-Danchenko. These two names were inextricably linked. That's when I found out interesting story the creation of the Moscow Art Theater, and later, having already matured, I realized what role Stanislavsky played in the history of the theater. He is to the theater what Pushkin is to literature, or Lomonosov to science. In any sphere of human activity there is a person who is the cornerstone for this sphere.
Stanislavsky was artistically gifted from his earliest youth. As they wrote in one book, “The Muses stood at his cradle.” WITH youth he participated in theatrical performances. Moreover, he came from a family of wealthy merchants, and I can imagine how much effort it took him to leave the family business and fulfill his Highest purpose in life. And he fulfilled this purpose. If he had remained a merchant, no one would have remembered him, but today the whole world knows him!
What did Stanislavsky do in the theater? Why is it the cornerstone of theatre? Several aspects can be noted here.
Firstly, Stanislavsky struggled with theatrical routine and cliches. After all, when you know your job for a long time, you know all the pros and cons, it’s so easy to use what you’ve achieved and not do anything else. By the end of the 19th century, the majority of the public had the concept of the theater as a source of entertainment, where you can come at any time, look at pretty actresses, smoke a cigar, and leave just as calmly. Actors often treated theater in the same way—they knew where to say a phrase effectively, where to cry, where to wring their hands, and so on. In many ways, the theater became routine and became covered in dust and mold. And then Stanislavsky appeared like a young spring wind! It blew away all the cobwebs and washed away the mold! He forced the actors not just to present the play, but to live the lives of their characters, and cry and laugh for real, naturally. Even if the actor had a small role, he had to analyze the life of his hero, think through his biography. Even in wordless roles, it was necessary to go on stage filled with emotions and carry your thoughts. The Stanislavsky Theater showed living life on stage, "life" human spirit", as he said.
Secondly, Stanislavsky discovered the laws of acting, which were set out in the so-called “Stanislavsky system”. He argued that a talented actor should not study his system, because he already plays according to it. Stanislavsky developed his system by empirically studying the performance of brilliant actors - Fedotova, Ermolova, Chaliapin and others. He carefully studied the psychology of people and used it on stage. “I am in the proposed circumstances” is one of Stanislavsky’s main formulas, that is, it is necessary to show one’s individuality in one role or another.
Thirdly, Stanislavsky was a brilliant actor. Unfortunately, he died a long time ago and we have nothing left of his acting heritage except photographs known from childhood and numerous memoirs of his contemporaries. Somehow I especially often see his Gaev from “ Cherry Orchard“- a sort of adult child, embarrassedly holding a handkerchief in his hands.
Fourthly, Stanislavski was a brilliant director. If I'm not mistaken, some of his productions are staged at the Moscow Art Theater to this day! Like a brilliant conductor, he saw the entire performance, like a wonderful orchestra performing a great work. How brilliantly he could show a role during rehearsals. I remembered Sofia Pilyavskaya’s story about his show of Korobochka: Stanislavsky was sitting in a chair, and suddenly he stood up - and it was no longer him, but an old stupid woman, whose mind is like a broken watch - it moves and then stops.
Fifthly, Stanislavsky was a great man. There are no such people now. Not for a very long time. There are no words to describe the kind of person he was - you don’t know where to start. Those around him, his students, simply idolized him, were timid and dumb in front of him. I remember the story of Serafima Birman, who could not say “you” to him during rehearsal for the role - she stammered for about 20 minutes, and then he scolded her for it, since it was necessary to separate the role from the person. I can’t even talk about how Stanislavsky was brought up, polite, attentive to people, educated, etc. Any words turn into banality.
Of course, you can’t tell everything in such a short note. I outlined only the outlines of this person. He said nothing about his family, teachers, environment, students. He said nothing about Chekhov's plays - this is a topic for a special note. Much more can be said about this great personality, because, truly, in the theater Stanislavsky is our everything!
How time flies. Reading books about him, living his life with him, you think that he was born quite recently, but a century and a half has already passed! Thank God that Stanislavsky lived with us on earth, after him our life became different!
Vadim Grachev
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