Although this shot in the film plays a very good funny role and has a strong contrast effect, don't think that "actor cultivation" is just a performance prop. In fact, it is true and well known:
The author of this book is stanislavski (1863- 1938), an outstanding Russian and Soviet drama artist, a world-famous drama film theorist and educator, who founded the world-famous drama performance system in stanislavski.
Yalta, an actor of Moscow Art Theatre founded by Chekhov, Gorky and stanislavski, was shot at 1990.
He had close contacts with famous writers Tolstoy, Chekhov, Gorky, Hoptman and maeterlinck. He also staged a large number of their plays and those of Shakespeare, Moliere, Goethe, Schiller, Ibsen, Pushkin, Nikolai Nikolai Gogol, Dostoevsky and ostrovsky, and toured in Russia and all over the world. Li, the founder of the American performance "Method School"? Strasbourg said of him, "In the field of drama, except Shakespeare, no name is sung more often than stanislavski."
The book "Actor's Cultivation" mainly discusses the cultivation in the process of experiencing creation, involving all aspects that have been proved in history and passed the professional test of actors. Once published, this book will become a desk book for young actors. Together with My Artistic Career and its sequel Actors Create Roles, it constitutes the essence of Smith's performance system.
Guangxi Normal University published the first and second parts of "Actor Cultivation" on 20/0/3, and the actors created roles on 20/0/6. This year, we published the latest full translation of My Artistic Career, which is the first work of the stone performance system. This book is not only stanislavski's autobiography, but also a summary of his acting career. In this book, all the important principles and methods of his performance system are described in detail.
This issue of WeChat brings you a Record of Performing Arts Activities in Daily Life written by stanislavski in my artistic career. For our ordinary audience, the concept of "acting" may be abstract and there is no definite standard. Many times, we judge actions out of a feeling. In the article recommended to you today, stanislavski mentioned the "appropriate limit" that he achieved many times through his performance practice, which may become a less abstract standard for us to define performance in the future.
Performing arts activities in life
The performance didn't go well because it was impossible to form a troupe. At that time, we, my two sisters, my friends and I decided to rehearse a play for ourselves as an exercise. We chose two light comedies translated from French: The first one is Fragile Strings, and the second one is Women's Secrets.
After watching too many famous European actors, our taste is also very high, and we are becoming more and more critical and strict in artistic pursuit. The director and actor plan has exceeded our ability and financial resources. In fact, what can we do without real acting skills, real knowledge and even materials for making scenery and costumes? Because we have nothing but the old clothes of parents, sisters and friends, as well as the discarded decorations, belts, buttons, bows and other tinkling trinkets that others ask for. Whether you like it or not, you should replace luxurious costumes and scenery with artistic imagination, originality and unusual treatment. There must also be a director. We don't have a director, and we really want to act, so we have to be directors ourselves. Life itself forces us to study and provides us with an internship school.
For example, in this case, how to turn a simple light comedy into a unique, French and charming performance?
The plot of a light comedy is simple: two college students fall in love with two frivolous girls, look for fragile strings in their hearts and start playing, thus winning their love. But where are the fragile strings of women? A male golden peacock is patting another female golden peacock. After being beaten, the female peacock kissed the male peacock. Is this a fragile string of women? They should be defeated! They tried, and they both got a big slap in the face. Finally, the two frivolous girls fell in love with them and got married. It's that simple, clear and childish!
There is another less complicated plot: the painter and my college student Meglio pursue a seamstress. The painter wants to get married, and college students help him. But they learned a terrible secret: his fiancee drank too much and accidentally found rum on her. They are so embarrassed and miserable! It turns out that the rum on the seamstress is used to wash her hair. Rum fell into the hands of college students and drunken janitors, while the seamstress belonged to the painter, that is, her fiance. At the end of the performance, they kissed each other, while the college student and the doorman were lying under the table, and two drunks were humming a ridiculous ending song.
Painters, tailors, attic with French roof, college students, Montmartre-there is style, charm, elegance and even romance here.
It happened in summer. We actors all live in Liubimov Card and don't go out. So, you can rehearse all the time and then perform every chance you get. We made full use of all kinds of performance opportunities. After getting up in the morning, take a bath and then perform a light comedy. After breakfast, perform a light comedy. Play for a while and then review the first play. If someone visits at night, we will go in and ask:
"Do you want us to perform a play for you?"
"think." The guest replied.
So we lit kerosene lamps, and the scenery remained the same. We put down the curtains and put on our clothes. Some people wear shirts, some people wear aprons, some people wear headscarves, some people wear hats, so a person's performance begins. For us, this is a rehearsal. In order to improve ourselves better, we will put forward more and more new tasks for ourselves every time we repeat the performance. I have studied the "appropriate limit" that the audience once threw at me from all aspects. Finally, I let all the actors have appropriate restrictions. In this appropriate limit, we can't breathe, and the audience is sleepy because of boredom.
Played Ferdinand in Plot and Love filmed by 1889.
"Yes, just? The sound is too small! " He said with some embarrassment.
In other words, speak up and let's make a decision. Since then, new tasks and new rehearsals have begun. Another audience came and felt too loud. In other words, there are no proper restrictions, and the voice should be moderate. This task seems simple at first glance, but we can't do it well. The most difficult thing on the stage is that the sound should not be too small, too loud, simple and natural.
"Performing light comedy should have speed and full timbre."
"speed? All right! The play lasted forty minutes. If the performance time is kept at 30 minutes, does this mean that we already have speed during the performance? " After a long rehearsal, we arrived at 30 minutes.
"It would be great if this light comedy could be finished in twenty minutes." I made a request.
Uncle Vanya, directed by stanislavski and Nie Mirovic-Danchenko, was shot on 1899.
We have created a unique sport, speed race. Finally, we arrived for twenty minutes. We now feel that when performing light comedy, the pace is fast, the tone is full, the voice is not high or low, and it is very realistic. But when our critic came, he said:
"What you said and did there, I don't understand at all. I just found out that everyone is running around like crazy people. "
But we didn't lose heart:
"You said that you fled from east to west, indicating that everything you did must be to make things clear and obvious." We came to the conclusion.
If we successfully accomplish these extremely difficult tasks, we may become great actors, but we didn't, but we still gained something. Undoubtedly, this kind of creation has brought us some purely superficial benefits. We began to speak clearly and have a clear goal when we acted. This is already a harvest, but for the time being, it is only for clarity and clarity, for clear goals and clear goals. In this condition, there can be no sense of reality.
As a result, we have a new confusion, and we don't even realize the inconspicuous superficial benefits brought by past experiences.
On another occasion, we plan to organize a performance for only performers who live together in summer. After searching for a suitable script in vain, we decided to write the lines and music of operetta ourselves. We put forward a new principle as the basis of creation: every actor should think of a role for himself according to his hobby and explain who he wants to play. After collecting these customized characters, we are thinking about what kind of plot these characters can form, and then writing lines. A friend of mine undertook the task of composing music. This time, those of us who have just won the title of writer and composer have experienced all the pains of creation through personal experience. We understand the efforts needed to create music and drama works and the difficulty of such creative work.
There is no doubt that we have succeeded in some places. These places are staged and cheerful, providing good materials for directors and actors. But when we tried to string the scattered parts together into a main line of the script, we found that this line could not string the scattered parts together. There is no common thread that can run through all ideas to guide creators to achieve a certain goal. On the other hand, the goal is different, and each customizer has his own goal, which leads to different endings of the script. Each character looks good alone, but it doesn't fit together. At that time, we didn't understand the failure in literary creation, but obviously, our creation in the field of literature and music was of great benefit.
Acosta, acosta, uriel, shot at 1885.
I also came up with a role for myself. "Who am I going to play?" I was thinking. Of course, first he must be handsome. He can sing gentle and delicate music, win the favor of women and become a person like my favorite singer. I can imitate his voice and stage performance style. At this stage, I don't want to know my role. Of course, everyone knows the characteristics of our actors: ugly men want to be handsome on the stage, short men want to be tall and clumsy, and people who have no talent for tragedy or comedy fantasize about playing Hamlet or lovers. Simple people want to play Don Juan, and funny people want to play King Lear. If you ask those drama lovers which role he wants to play most, you will be surprised at his choice. People are always pursuing what they don't have, while actors are always looking for what they have lost in life on the stage.
But this is a dangerous road and a mistake. For an actor, if he doesn't know his real role and ambition, then this is the biggest obstacle. This is a dead end. He walked in for decades and couldn't find a way out until he realized his mistake. By the way, the performance described has only brought important benefits to our cause by accident.
The thing is this: an actor quit because of illness. I had to transfer the role to my sister Alekseyeva (sokolova). She is a Cinderella in our position. She usually undertakes some rough work, that is, she is responsible for preparing clothes, editing and setting, and reminding actors to go on stage. She only appeared as an actress in an emergency, and she was also a small role. Now she suddenly becomes the leading role. I can't imagine the consequences of such a change, but I have to rehearse. Although she didn't do anything wrong and didn't deserve my malicious treatment at all, I often couldn't hide my bad feelings towards her. I tortured her, even during rehearsal. In despair, she finished the main part of the play, which surprised us. She seems to have unplugged the plug that had been stuck in her heart before, and the shyness that once wrapped her sister was suddenly defeated in despair. Her intense passion is like a river that has washed away a dam. A new actor was born!
The operetta was a failure. But that night, the script specially selected for the newborn actor began to rehearse. We performed Ji Yaqinko's drama Mr. Practical, and formulated a new principle for this creation, that is, in order to better understand the role and enter its inner essence, we think it is necessary to get used to it and practice it frequently. This is the essence of these habits and exercises. We should spend a day in the script environment in the name of the role, not in our own name. No matter what happens in the real life around us, whether walking, picking mushrooms or boating, we should act according to the inner temperament of each character in the play and follow the instructions of the script. It seems necessary to change real life to suit the role. For example, according to the script, my future fiancee's parents strictly forbid me to associate with their daughter because I am a poor and unattractive college student and she is a rich and powerful lady. In order to avoid the actor playing her parents and achieve the purpose of dating quietly, I must be smart. For example, a friend who plays the role of father happens to be coming towards us, so we should quietly separate from our sister who plays the role of fiancee, or use an idea to justify a forbidden date. First of all, in these cases, this friend is not like what he does in life. In his opinion, he should do it like his role "Mr. Practical".
Olgun as a hypocrite, shot at 19 13.
The difficulty of this attempt lies in the fact that actors are not only actors, but also more and more authors of new improvisations. We often encounter a lack of words and topics in conversation, so we will take a break and discuss together. 104 We decided how the characters should behave in a given situation, and what thoughts, lines, behaviors and actions are logically necessary for them. Then we go back to the role and continue our experiment. It was difficult at first, but we soon got used to it.
According to my habit at that time, this time I started by imitating the famous actor мп Sadofsky of the Royal Theatre. He played Meruzov, a college student, in ostrovsky's play Genius and Admirers. I imitate his strange gait and his amblyopia. His protruding hands are always used to rubbing his long beard, holding his glasses and combing his unkempt hair. Inadvertently, what I imitated, with the passage of time, became habitual behavior, and then became the real thing I experienced personally. Everything can be stylized in all kinds of props and makeup actors on the stage, but in real life, you can't perform for the sake of performance, and you can't be divorced from the real life around you. Once again, I really realized what an appropriate limit is.
What we did at that time didn't achieve the expected effect, but I don't doubt that such creation planted the seeds of the future in our hearts. This is the first role I played that was praised by insiders. But the ladies said, "It's a pity that you are so ugly!" " "I prefer to believe what the ladies said to the experts. So I fantasized about playing the role of handsome boy again.
When I was just on the right path from a dead end, I went back to a dead end again and continued to try all the roles, excluding the roles given to me by nature. What a pity for an actor who doesn't know his role! How important it is to know your ambition in time!
My artistic career
(Su) stanislavski
Translated by Yang Yanchun
Stanislavski is the founder of the influential stanislavski performance system in the world. He had close contacts with famous writers Tolstoy, Chekhov, Gorky, Hoptman and maeterlinck. He also staged a large number of their plays and those of Shakespeare, Moliere, Goethe, Schiller, Ibsen, Pushkin, Nikolai Nikolai Gogol, Dostoevsky and ostrovsky, and toured in Russia and all over the world. Wherever he goes, it will cause a sensation. 1898 co-founded Moscow Art Theatre with Nie Mirovic-Danchenko, which has been active as a symbol of Russian drama ever since.
Stanislavski devoted his whole life to exploring the laws of performing arts and the methods of cultivating actors. This book is the first work of the stone performance system, which describes how all the important principles and methods of the system came into being. At the same time, the book also vividly describes the interaction between contemporary writers and artists and their contribution to the system.
Once published, this book became popular all over the world and became a treasure in the world literature and drama library. Together with the self-cultivation of actors (up and down) and the creation of roles by actors, it constitutes the essence of this system and has a lasting impact on the development of world drama and film performance art.
This book is a complete translation of the latest edition of Moscow Art Publishing House.
-End-
Edit sesame paste
This is our 843rd push for you.
If you need to reprint and indicate the source cooperation, please contact the micro signal bbtstar.
Click to read the original text
You can buy Si's performance system series books.