A Director's Guide to Stanislavsky's Active Analysis describes Active Analysis, the innovative rehearsal method Stanislavsky formulated in his final years. By uniting mental analysis and études, Active Analysis puts an end to the problem of mind-body dualism and formalized text memorization that traditional rehearsal methods foster.
The book describes Active Analysis both practically and conceptually; Part One guides the reader through the entire process of Active Analysis, using A Midsummer Nights Dream as a practical reference point. The inspiration here is the work of the Russian director Anatoly Efros, whose pioneering work led the way for a reawakening of theatre in post-Soviet Russia. Part Two is the first English translation of Maria Knebels foundational article about Active Analysis. Knebel was hand-selected by Stanislavsky to carry his final work forward in unadulterated form for succeeding generations of directors and actors.
A Director's Guide to Stanislavsky's Active Analysis provides the first detailed explanation of Active Analysis from the directors perspective, while also meeting the needs of actors who seek to enhance their creative involvement in the process of play production.
Recenzijos
That this book contains the long awaited first English translation of Maria Knebel's seminal essay on Active Analysis makes it essential reading for that purpose alone. * Paul Christie, Staffordshire Univerity, UK *
Daugiau informacijos
A Director's Guide to Stanislavsky's Active Analysis describes Active Analysis, the radically innovative rehearsal method Stanislavsky formulated in the final years of his life.
| Acknowledgements |
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xi | |
| Preface |
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xii | |
| Introduction |
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1 | (1) |
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PART ONE A Director's Work with Active Analysis |
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1 | (82) |
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9 | (6) |
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Plot summary of A Midsummer Night's Dream |
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11 | (4) |
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2 Director's Plan: General Challenges |
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15 | (14) |
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15 | (2) |
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17 | (1) |
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18 | (3) |
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21 | (1) |
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22 | (1) |
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23 | (1) |
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23 | (4) |
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27 | (2) |
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3 Director's Plan: Action Analysis |
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29 | (14) |
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Exercise: Reading Stanislavsky unabridged |
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30 | (1) |
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30 | (1) |
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31 | (1) |
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32 | (2) |
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34 | (1) |
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34 | (1) |
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35 | (1) |
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36 | (1) |
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37 | (1) |
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37 | (1) |
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38 | (1) |
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38 | (1) |
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39 | (1) |
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Through-action and counter through-action |
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40 | (1) |
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41 | (2) |
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4 An Introductory Conversation with Stanislavsky about Active Analysis |
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43 | (6) |
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5 Active Analysis in Rehearsal |
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49 | (24) |
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First reading of the play with the actors |
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49 | (1) |
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First episode (1.1.1--20): Introduction to the etude process |
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50 | (5) |
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55 | (1) |
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Etude possibilities for scenes not in the play |
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56 | (1) |
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Second episode (1.1.21--129): The subtext and the feeling of empowerment |
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57 | (2) |
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59 | (1) |
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Etude possibilities for scenes not in the play |
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60 | (1) |
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Third episode (1.1.130--182): The theme and the director's `secret plan' |
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60 | (3) |
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63 | (1) |
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Etude possibilities for scenes not in the play |
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64 | (1) |
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Fourth episode (1.1.183--231): Operative role of the theme, the personality of the actors, and clusters of psychology |
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64 | (3) |
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67 | (1) |
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Etude possibilities for scenes not in the play |
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68 | (1) |
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Fifth episode (1.2): Operative role of the through action, controlled guessing, and gestation time |
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68 | (2) |
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70 | (2) |
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Etude possibilities for scenes not in the play |
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72 | (1) |
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6 Further Active Analysis and Testing |
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73 | (6) |
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73 | (3) |
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76 | (1) |
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Etude possibilities for scenes not in the play |
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76 | (1) |
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76 | (1) |
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Physical characterization |
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77 | (2) |
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7 Conclusion: Rehearsal Realities |
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79 | (4) |
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PART TWO Active Analysis of the Play and the Role |
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83 | (72) |
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85 | (2) |
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1 General Principles of Active Analysis |
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87 | (20) |
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89 | (2) |
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Unity of mental and physical life |
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91 | (2) |
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The position of the author's text |
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93 | (1) |
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94 | (3) |
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97 | (1) |
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98 | (1) |
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99 | (2) |
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101 | (2) |
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Evaluation of facts and events |
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103 | (4) |
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107 | (12) |
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Further active analysis and testing |
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107 | (1) |
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Transition from mental analysis to etudes |
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108 | (1) |
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108 | (3) |
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Approximating the production values |
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111 | (1) |
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112 | (4) |
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Managing mistakes in etudes |
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116 | (1) |
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Moving to the next fragment |
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117 | (2) |
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3 Main Advantages of Active Analysis |
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119 | (22) |
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Responsibility of the actor |
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119 | (1) |
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The creativity of the actor |
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120 | (1) |
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`Me in the given circumstances' |
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121 | (2) |
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123 | (2) |
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The author's special language |
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125 | (3) |
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128 | (1) |
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129 | (1) |
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129 | (1) |
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130 | (1) |
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131 | (1) |
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132 | (1) |
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133 | (4) |
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137 | (1) |
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138 | (3) |
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141 | (6) |
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Transition from etudes to rehearsal with the author's text |
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141 | (2) |
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Verification of the author's text |
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143 | (1) |
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Production values and staging |
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144 | (3) |
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5 Active Analysis Compared to the Method of Physical Actions |
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147 | (4) |
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151 | (4) |
| Notes |
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155 | (8) |
| Bibliography |
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163 | (4) |
| Index |
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167 | |
James Thomas, Professor and Graduate Officer at Wayne State University, Detroit, is a graduate of St. Ambrose College (BA), Villanova University (MA), and the University of Texas at Austin (PhD). He came to WSU from Florida State University, where he was Associate Dean of the School of Theatre. His most recent directing credits include Marriage, The Seagull, The Inspector General, and Death of a Salesman at the Hilberry Theatre, and The Skin of Our Teeth, A Flea in Her Ear, and Ah-Wilderness! at the Bonstelle Theatre. His publications include Script Analysis for Actors, Directors and Designers, The Art of the Actor-Manager: Wilson Barrett and the Victorian Theatre, and translations of The Joy of Rehearsal, The Craft of Rehearsal, and Beyond Rehearsal by Russian director Anatoly Efros. He is also Director of the departments Summer Study Abroad Program with the Moscow Art Theatre School.
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