Stanislavsky and Ibsen A Doll's House - essay

Apr 3rd, 2015
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I was doing a course on acting and had to write an essay on naturalistic acting aka Stanislavsky's method. We were performing scenes from Ibsen's A Doll's House at the end of the course, so my essay is basically describing the idea of Stanislavsky's method and how we used this in practice in our performance. This essay was written with UK spelling.

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Preparation for the naturalist stage: Stanislavsky and the actorAccording to naturalistic theatre, 'a truthful art must provide a faithful reproduction of real life' (Schuler, 2000). The methodology of Stanislavsky (1863-1938) is widely used by actors attempting to create naturalistic performance even today (Barton, 1992, pp. 106-107). As '[t]he System includes looking closely and carefully at the world of the character, and then gradually entering the character's perspective' (ibid., p.152), I found that Stanislavsky's 'mental reconnaissance', a round-the-table analysis of the text (Merlin, 2007, p. 60), is an effective practice of self-preparation when building a character. In the reflection that follows, I will be discussing how research into the social background of the period through Holdsworth's book helped me stage the character of Nora when performing extracts from Ibsen's A Doll's House - which, contrary to Mamet, is agreed upon by Merlin and Barton. In the second half of my essay I will be discussing the usefulness of clearly stating and realising objectives, which was also used by followers of Stanislavsky, such as Knebel, Stafford-Clark and Adler. After conducting research into the social background of the period of the play, I was able to physicalise my interpretation of the character on stage. This idea, written down by Stanislavsky, is supported and practised by many actors and teachers of acting. Drawing on my interpretation from research, my physical rea

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