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Il lavoro dell'attore su se stesso
L'attore, l'uomo che, senza perdere se stesso, deve creare il personaggio, è il protagonista di questo celebre diario. Le vie inferiori di questa creazione, i modi della sua realizzazione psicologica, gestuale, sonora, scenica: queste le fasi del "metodo Stanislavskij", la grammatica elementare di tutto il teatro del Novecento.
600 pages, Paperback
Published January 1, 2008
60 people are currently reading
189 people want to read
About the author
Constantin Stanislavski
109 books351 followersConstantin Sergeyevich Stanislavski (russian:Константин Сергеевич Станиславский) was a Russian actor and theatre director.
Stanislavski's innovative contribution to modern European and American realistic acting has remained at the core of mainstream western performance training for much of the last century. Building on the directorially-unified aesthetic and ensemble playing of the Meiningen company and the naturalistic staging of Antoine and the independent theatre movement, Stanislavski organized his realistic techniques into a coherent and usable 'system'. Thanks to its promotion and development by acting teachers who were former students and the many translations of his theoretical writings, Stanislavski's system acquired an unprecedented ability to cross cultural boundaries and developed an international reach, dominating debates about acting in the West. That many of the precepts of his 'system' seem to be common sense and self-evident testifies to its hegemonic success. Actors frequently employ his basic concepts without knowing they do so.
Stanislavski treated theatre-making as a serious endeavour, requiring dedication, discipline and integrity, and the work of the actor as an artistic undertaking. Throughout his life, he subjected his own acting to a process of rigorous artistic self-analysis and reflection. His 'system' resulted from a persistent struggle to remove the blocks he encountered. His development of a theorized praxis—in which practice is used as a mode of inquiry and theory as a catalyst for creative development—identifies him as the first great theatre practitioner. Stanislavski believed that after seeing young actors at Aquinas College in Moscow he could see why theatre needed to change to a more disciplined endeavour.
Stanislavski's work was as important to the development of socialist realism in the USSR as it was to that of psychological realism in the United States. Many actors routinely identify his 'system' with the American Method, although the latter's exclusively psychological techniques contrast sharply with Stanislavski's multivariant, holistic and psychophysical approach, which explores character and action both from the 'inside out' and the 'outside in'. Stanislavski's work draws on a wide range of influences and ideas, including his study of the modernist and avant-garde developments of his time (naturalism, symbolism and Meyerhold's constructivism), Russian formalism, Yoga, Pavlovian behaviourist psychology, James-Lange (via Ribot) psychophysiology and the aesthetics of Pushkin, Gogol, and Tolstoy. He described his approach as 'spiritual Realism'.
Associated Names:
Konstantin Stanislavski (Alternative spelling)
Константин Станиславский (Russian)
斯坦尼斯拉夫斯基 (Chinese)
Stanislavski's innovative contribution to modern European and American realistic acting has remained at the core of mainstream western performance training for much of the last century. Building on the directorially-unified aesthetic and ensemble playing of the Meiningen company and the naturalistic staging of Antoine and the independent theatre movement, Stanislavski organized his realistic techniques into a coherent and usable 'system'. Thanks to its promotion and development by acting teachers who were former students and the many translations of his theoretical writings, Stanislavski's system acquired an unprecedented ability to cross cultural boundaries and developed an international reach, dominating debates about acting in the West. That many of the precepts of his 'system' seem to be common sense and self-evident testifies to its hegemonic success. Actors frequently employ his basic concepts without knowing they do so.
Stanislavski treated theatre-making as a serious endeavour, requiring dedication, discipline and integrity, and the work of the actor as an artistic undertaking. Throughout his life, he subjected his own acting to a process of rigorous artistic self-analysis and reflection. His 'system' resulted from a persistent struggle to remove the blocks he encountered. His development of a theorized praxis—in which practice is used as a mode of inquiry and theory as a catalyst for creative development—identifies him as the first great theatre practitioner. Stanislavski believed that after seeing young actors at Aquinas College in Moscow he could see why theatre needed to change to a more disciplined endeavour.
Stanislavski's work was as important to the development of socialist realism in the USSR as it was to that of psychological realism in the United States. Many actors routinely identify his 'system' with the American Method, although the latter's exclusively psychological techniques contrast sharply with Stanislavski's multivariant, holistic and psychophysical approach, which explores character and action both from the 'inside out' and the 'outside in'. Stanislavski's work draws on a wide range of influences and ideas, including his study of the modernist and avant-garde developments of his time (naturalism, symbolism and Meyerhold's constructivism), Russian formalism, Yoga, Pavlovian behaviourist psychology, James-Lange (via Ribot) psychophysiology and the aesthetics of Pushkin, Gogol, and Tolstoy. He described his approach as 'spiritual Realism'.
Associated Names:
Konstantin Stanislavski (Alternative spelling)
Константин Станиславский (Russian)
斯坦尼斯拉夫斯基 (Chinese)
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Displaying 1 - 4 of 4 reviews
May 7, 2017
Il libro più famoso di Konstantin Stanislavskij si presenta in forma di diario: seguiamo attraverso gli occhi di uno studente numerose lezioni impartite da Torcov, l'insegnante del "metodo" più noto della storia del teatro. Sebbene il testo sia molto lungo e talvolta fin troppo tecnico e ripetitivo, per un aspirante attore è fonte di numerosi spunti di riflessione e di azione, dal momento che vengono trattati pressoché tutti gli aspetti della recitazione teatrale e le idee che il sistema offre per massimizzare la qualità della propria performance. La bizzarra scelta di Stanislavskij di scrivere una sorta di romanzo di formazione anziché un semplice manuale dell'attore si rivela a volte brillante, altre noiosa. Ciò che spicca è l'evidente rimando ai dialoghi platonici e all'uso della maieutica, attraverso cui il maestro insegna agli allievi i segreti del buon recitare.
Nota di demerito per l'edizione Laterza, piena zeppa di errori grammaticali palesemente non dovuti a sviste perché sistematici.
Nota di demerito per l'edizione Laterza, piena zeppa di errori grammaticali palesemente non dovuti a sviste perché sistematici.
October 28, 2024
Interessante solo come compendio a un corso di teatro, molte cose descritte vengono eseguite quotidianamente dopo brevi spiegazioni teoriche.
Abbastanza inutile la parte sulla dizione, incomprensibile lo spettacolo (perché questo è, il testo teatrale che rappresenta il Metodo, che si conclude nel capitolo 13) ma molto interessante lo sterminato elenco di esercizi.
Il libro è sicuramente meritevole, in alcune sue parti, di una seconda lettura.
Abbastanza inutile la parte sulla dizione, incomprensibile lo spettacolo (perché questo è, il testo teatrale che rappresenta il Metodo, che si conclude nel capitolo 13) ma molto interessante lo sterminato elenco di esercizi.
Il libro è sicuramente meritevole, in alcune sue parti, di una seconda lettura.
April 10, 2025
Un manuale fondamentale
September 7, 2025
La parte più utile (o, almeno, la cui utilità sia immediatamente visibile) è il commento iniziale.
Il resto è carino, ma bisogna scavare un po'. Comunque sarà interessante mettere in pratica tutto!
Il resto è carino, ma bisogna scavare un po'. Comunque sarà interessante mettere in pratica tutto!
Displaying 1 - 4 of 4 reviews