Podcast appearances and mentions of konstantin stanislavski

In this episode of The Acting Notes, we dive deep into one of the most famous—and controversial—acting approaches: The Method. We'll explore its origins, tracing back to Konstantin Stanislavski and how his work influenced legendary figures.We'll break down the key techniques actors use, from emotional memory to sense memory and help you determine if it's the right method for you. Tune in as we separate fact from fiction and discuss how The Method  has shaped some of the most iconic performances in film and theater history.

Discuție înregistrată la 3 februarie, 2024. Unchiul Vanea (Дя́дя Ва́ня) este o piesă de teatru a dramaturgului rus Anton Cehov. A fost publicată pentru în 1897 și a fost pusă în scenă pentru prima dată în 1899 de Teatrul de Artă din Moscova, în regia lui Konstantin Stanislavski. Unul din laitmotivele principale, plictiseala, era omniprezent în textul original dar și în piesa jucată (pe care ulterior am văzut-o în Toronto, adaptată de Liisa Repo-Martell). Personajele comiteau acte bizare adesea dintr-un simplu plictis, sau din disprețul față de rutina pe care parțial și-ai creat-o singuri. Automatismul a erodat sufletul oamenilor, idealurile tinereții treptat dispărând, iar oamenii transfigurându-se în antiteze a ceea ce erau cândva. Rutina pasivă a vieții cotidiene a trivializat relațiile între personajele piesei. *Dacă vrei să mențin regularitatea acestor întâlniri, susține-mă pe Patreon: www.patreon.com/meditatii ▶DISCORD: – Comunitatea amatorilor de filosofie și literatură: discord.gg/meditatii ▶DIALOGURI FILOSOFICE: – Română: soundcloud.com/meditatii/sets/dialoguri-pe-discord – Engleză: https://youtu.be/UbaT2iv6VDc?si=20OiO4tegd57PGQO ▶PODCAST INFO: – Website: podcastmeditatii.com – Newsletter: podcastmeditatii.com/aboneaza – YouTube: youtube.com/c/meditatii – Apple Podcasts: https://podcasts.apple.com/us/podcast/medita%C8%9Bii/id1434369028 – Spotify: open.spotify.com/show/1tBwmTZQHKaoXkDQjOWihm – RSS: https://feeds.soundcloud.com/users/soundcloud:users:373963613/sounds.rss ▶SUSȚINE-MĂ: – Patreon: www.patreon.com/meditatii – PayPal: paypal.me/meditatii ▶TWITCH: – LIVE: www.twitch.tv/meditatii – Rezumate: www.youtube.com/channel/UCK204s-jdiStZ5FoUm63Nig ▶SOCIAL MEDIA: – Instagram: www.instagram.com/meditatii.podcast – Facebook: www.facebook.com/meditatii.podcast – Goodreads: goodreads.com/avasilachi – Telegram (jurnal): t.me/andreivasilachi – Telegram (chat): t.me/podcastmeditatii ▶EMAIL: andrei@podcastmeditatii.com

Oefeningen die acteurs in theaters gebruiken, zijn super nuttig om in trainingen te gebruiken. Niet alleen omdat ze verfrissend, leuk en nieuw zijn, maar omdat ze de transfer verhogen. Samen met expert en ervaringsdeskundige Vincent de Lusenet bespreken Jan-Peter en Jeanne hoe acteurs zich voorbereiden en wat L&D-ers daarvan kunnen leren. Op basis van de theorie van Konstantin Stanislavski komen zij zo tot drie nieuwe werkvormen die je meteen kunt inzetten in je trainingen.LinkedIn van VincentKijk hier voor meer informatie over deze podcast:https://www.brainbakery.com/brainsnacks/een-magische-mix-van-theater-en-training-met-vincent-de-lusenetOp https://www.brainbakery.com/brainsnacks vind je onze blogs.Support the show

Everybody said don't, but we're doing it anyway... It's the Gospel According to Babs! We're doing something a little different this season and focusing on the musicals (and musical-adjacent) films of one of the greats, and who better than Barbra Streisand: GOAT queer diva, filmmaker, actor, and singer, who just released her autobiography My Name is Barbra.   We talk about: – The Method: Barbra's early training in the method developed by Konstantin Stanislavski and his students in the early decades of the 20th century – and the theology of human experience it depends on. – The Albums: Streisand as an interpreter of the American Songbook, and the ways in which her acting training influences her recording career. – The power of thought as Barbra's autobiography (and discography!) expresses it. Do thoughts really transcend matter? – Keep a performance fresh – how to stay in the moment when the moment needs to be repeated over and over. – Streisand as prophet and priest. How does an artist bring a prophetic voice to society?   You'll hear: – Mostly Barbra! “Putting it Together” from the Broadway Album (1985), “Everybody Says Don't” from Back to Broadway (1993) and “Guilty” (with Barry Gibbs!) from 1980.   Continue the conversation with us on Instagram and The Platform Formerly Known as Twitter (@gospelofmt).

Antes del Método Stanislavski las interpretaciones eran teatrales. Después de él, la inmersión de un actor en su personaje ha llegado convertirse en una cuestión obsesiva e incluso exagerada y paródica. La revolución del Método se instaló en terreno intermedio en los años 50 en Estados Unidos, cuando Marlon Brando, Robert de Niro, Meryl Streep, Al Pacino o Diane Keaton aprendieron bajo este sistema. ¿Cómo llegó el Método a ser tan influyente? ¿Quién era exactamente Konstantin Stanislavski? ¿Y a qué extremos miméticos se ha llevado esta filosofía por actores como Daniel Day Lewis o Jeremy Strong? Lo indagamos con Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares, Sergio del Molino y Nacho Vigalondo. Además, celebramos el Premio Princesa de Asturias de Streep tratando de recordar todas sus nominaciones al Oscar (21).

Antes del Método Stanislavski las interpretaciones eran teatrales. Después de él, la inmersión de un actor en su personaje ha llegado convertirse en una cuestión obsesiva e incluso exagerada y paródica. La revolución del Método se instaló en terreno intermedio en los años 50 en Estados Unidos, cuando Marlon Brando, Robert de Niro, Meryl Streep, Al Pacino o Diane Keaton aprendieron bajo este sistema. ¿Cómo llegó el Método a ser tan influyente? ¿Quién era exactamente Konstantin Stanislavski? ¿Y a qué extremos miméticos se ha llevado esta filosofía por actores como Daniel Day Lewis o Jeremy Strong? Lo indagamos con Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares, Sergio del Molino y Nacho Vigalondo. Además, celebramos el Premio Princesa de Asturias de Streep tratando de recordar todas sus nominaciones al Oscar (21).

Antes del Método Stanislavski las interpretaciones eran teatrales. Después de él, la inmersión de un actor en su personaje ha llegado convertirse en una cuestión obsesiva e incluso exagerada y paródica. La revolución del Método se instaló en terreno intermedio en los años 50 en Estados Unidos, cuando Marlon Brando, Robert de Niro, Meryl Streep, Al Pacino o Diane Keaton aprendieron bajo este sistema. ¿Cómo llegó el Método a ser tan influyente? ¿Quién era exactamente Konstantin Stanislavski? ¿Y a qué extremos miméticos se ha llevado esta filosofía por actores como Daniel Day Lewis o Jeremy Strong? Lo indagamos con Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares, Sergio del Molino y Nacho Vigalondo. Además, celebramos el Premio Princesa de Asturias de Streep tratando de recordar todas sus nominaciones al Oscar (21).This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4412383/advertisement

Antes del Método Stanislavski las interpretaciones eran teatrales. Después de él, la inmersión de un actor en su personaje ha llegado convertirse en una cuestión obsesiva e incluso exagerada y paródica. La revolución del Método se instaló en terreno intermedio en los años 50 en Estados Unidos, cuando Marlon Brando, Robert de Niro, Meryl Streep, Al Pacino o Diane Keaton aprendieron bajo este sistema. ¿Cómo llegó el Método a ser tan influyente? ¿Quién era exactamente Konstantin Stanislavski? ¿Y a qué extremos miméticos se ha llevado esta filosofía por actores como Daniel Day Lewis o Jeremy Strong? Lo indagamos con Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares, Sergio del Molino y Nacho Vigalondo. Además, celebramos el Premio Princesa de Asturias de Streep tratando de recordar todas sus nominaciones al Oscar (21).This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3690946/advertisement

Antes del Método Stanislavski las interpretaciones eran teatrales. Después de él, la inmersión de un actor en su personaje ha llegado convertirse en una cuestión obsesiva e incluso exagerada y paródica. La revolución del Método se instaló en terreno intermedio en los años 50 en Estados Unidos, cuando Marlon Brando, Robert de Niro, Meryl Streep, Al Pacino o Diane Keaton aprendieron bajo este sistema. ¿Cómo llegó el Método a ser tan influyente? ¿Quién era exactamente Konstantin Stanislavski? ¿Y a qué extremos miméticos se ha llevado esta filosofía por actores como Daniel Day Lewis o Jeremy Strong? Lo indagamos con Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares, Sergio del Molino y Nacho Vigalondo. Además, celebramos el Premio Princesa de Asturias de Streep tratando de recordar todas sus nominaciones al Oscar (21).This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4262462/advertisement

Konstantin Stanislavski, often simply referred to as Stanislavski, was a Russian actor, director, and theatre practitioner. Stanislavski was one of the co-founders of the Moscow Art Theatre and directed many of its early productions. He is best known for his pioneering work in the field of acting and for developing the Stanislavski system, also known as the method of physical actions or method acting.This snacky episode of the artists podcast is dedicated to the master. FOLLOW OUR FRESHLY BREWED INSTA HANDLE: THE.ARTISTSPODCAST Email id: metaphysicallab@gmail.com/  You can follow us and leave us feedback on Facebook, Instagram, and Twitter @eplogmedia, For partnerships/queries send you can send us an email at bonjour@eplog.media   DISCLAIMER: The views expressed on all the shows produced and distributed by Ep.Log Media are personal to the host and the guest of the shows respectively and with no intention to harm the sentiments of any individual/organization.The said content is not obscene or blasphemous or defamatory of any event and/or person deceased or alive or in contempt of court or breach of contract or breach of privilege, or in violation of any provisions of the statute, nor hurt the sentiments of any religious groups/ person/government/non-government authorities and/or breach or be against any declared public policy of any nation or state.See omnystudio.com/listener for privacy information.

O Prof. Dr. Fausto Viana é bacharel em artes cênicas com habilitação em cenografia (1992) pelo Departamento de Artes Cênicas da Universidade de São Paulo- CAC ECA USP. Tem mestrado em Artes (2000) e em Têxtil e Moda (2015) pela Universidade de São Paulo. Seu primeiro doutoramento foi em Artes Cênicas pela Universidade de São Paulo (2004) e o segundo em Museologia pela Universidade Lusófona de Humanidades e Tecnologia (2010). Fez seu primeiro pós-doutoramento em conservação de têxteis no Museu Nacional do Traje em Lisboa, Portugal e o segundo em moda, na Universidade Federal do Rio de Janeiro. Atualmente é professor livre docente da Universidade de São Paulo. Tem experiência na área de Artes e Museologia, atuando principalmente nos seguintes temas: teatro, figurino, caracterização, cenografia, conservação e restauro de trajes. É associado da Cooperativa Paulista de Teatro; da Oistat, Organização Internacional dos cenógrafos, técnicos e arquitetos de teatro; da ABEPEM, Associação Brasileira de Estudos e Pesquisa em Moda e da Association of Dress Historians, do Reino Unido. @‌viana.fausto O livro "O Figurino Teatral e as renovações do século XX - Um Estudo de Sete Encenadores" resgata o trabalho de criação de trajes cênicos de sete encenadores do século XX que de alguma maneira contribuíram para a renovação dos padrões de interpretação teatral. Adolphe Appia (suíço que ainda muito jovem decide mudar as formas de encenação contemporâneas), Edward Gordon Craig (inglês que decidiu renovar a cena teatral moderna no final do século XIX), Konstantin Stanislavski (criou um sistema de representação para atores que é utilizado na maior parte das escolas de teatro do mundo), Max Reinhardt (de origem austríaca, fez empreendimentos de qualidade em espaços não convencionais para o teatro), Antonin Artaud (francês que propôs novas formas de interpretação), Bertolt Brecht (teórico e encenador alemão) e Ariane Mnouchkine, diretora francesa que ainda dirige o Thêátre du Soleil.

Want to learn to be a real actor? Well, if you're willing to plumb the depths of emotionally devestating experiences from your childhood and past, or living your life in the exact circumstances of your character, then you're in luck! Doesn't sound appealing? To most people, those kind of ideas (drawing on memories to inform a performance and “being” your character) is the epitome of what's known as “method acting.” But in fact, there really isn't just one “method” - and as it turns out, that idea of an acting method is a relatively recent - and controversial - concept…Rob teaches Ray about the “method” technique of acting, and how the idea of a systematic approach to acting developed; how Konstantin Stanislavski impacted acting education by exploring the intersection of psychology and performing in his theatre work; the different interpretations and teachers who branched off from Stanislavski's ideas; the many notable actors who have emerged from these acting schools; and whether the “method” or “system” of acting is still considered the gold-standard in modern stage and screen acting.If you like what we're doing, please support us on Patreon or subscribe to our bonus content on Apple Podcasts. And if you have any thoughts or feedback you'd like to share with us, we'd love to hear from you - feel free to send us a message on social media!TEAMRay HebelRobert W. SchneiderMark SchroederBilly RecceDaniel SchwartzbergGabe CrawfordNatalie DeSaviaARTICLESEPISODE CLIPSHis Girl Friday (1940) - a Better Offer Scene (1/12) | MovieclipsGone With the Wind (1/6) Movie Clip - Scarlett Meets Rhett (1939) HDA Streetcar Named Desire (5/8) Movie Clip - I'm the King Around Here (1951) HDWhat Is Method acting?Clip of Lee Strasberg Directing Katherine Cortez, 1979Stella Adler: Awake and Dream! From “American Masters”What Is the Meisner Technique: The Repetition Exercise (Part 1)Sanford Meisner Master Class Screener

“Reading is not for play. It is to gain knowledge” Stella Adler The Art of Acting[i] and she adds that “I, for instance, am very strict about what I eat and I'm equally strict about what I read.”   In keeping with our season theme of going back to the basics, and building the strongest 2.0 version of ourselves, I'm skipping to episode #199[ii] on “The Neuroscience of Self-Belief and Our Identity”[iii] from Feb 2022. For those who are returning guests, welcome back to The Neuroscience Meets Social and Emotional Learning Podcast, where we cover the science-based evidence behind social and emotional learning (for schools) and emotional intelligence training (in the workplace) with tools, ideas and strategies that we can all use for immediate results, with our brain in mind.  For those who haven't met me yet, I'm Andrea Samadi, an author, and an educator with a passion for learning and launched this podcast to share how the understanding of our complex brain transfers into our everyday life and results. On this episode #288 we will cover: ✔ A review of The Neuroscience of Self-Belief and Our Identity ✔ How Belief in Ourselves Develops and Changes Over Time ✔ Top 5 Lessons Learned from Stella Adler's “The Art of Acting” ✔ Why Continual Study is Important When I looked back to EP 199 on “The Neuroscience of Self-Belief and Our Identity” I noticed that we opened with a quote from the late Bob Proctor, and a meeting with my friend Patti, who worked closely with Bob's seminars over the years. Patti and I met a few weeks after Bob moved from what he would say was the physical plane, to the spiritual, and we talked about some of the important lesson learned, and knowledge gained from those days working in the seminar industry, and how they've impacted our daily life since then. Concepts based on our beliefs like: “All things are possible if you believe. “Our results are all based on our beliefs” “If we don't like what's going on outside, we've got to go inside, and change our beliefs.”[ii] --Bob Proctor These ideas were at the core of every seminar Proctor conducted, and he would travel the globe presenting these ideas in a way that would captivate and change the lives of his listeners globally.  Now I sold seminars for Bob from 1999 to 2002 and every time he would come up with a new seminar, people would say the same thing.  What's new with this one?  I'd explain that this new seminar had a different angle but some people would challenge this new angle and say, “that's kind of what we learned in the last seminar” (belief in ourselves) to do xyz and the answer was yes… belief is behind everything we want to do… it's at the heart of every seminar.  It's also something that takes time to develop. I've heard it described in different ways. It's like pouring a drop of red food coloring into a glass of water, and you stir it once, and the red coloring disappears. We've got to keep putting the red drops into the water, to notice the change in color. It's not easy to notice at what point the color goes from clear to red, as this change takes time. Just like the belief we must have in ourselves that develops over time. It's difficult to put belief into words, or know when we've got it, or not, but it can be seen easily by others. I saw it while interviewing Ryan O'Neill on EPISODE #203[iv] on “Making Your Vision a Reality” because I knew Ryan BEFORE he achieved the goals he had set for himself, and remember when they were just ideas, written down.  Watching his success over the years has been nothing short of incredible, and the change shows up for Ryan on the outside. His knowledge, confidence, and success in his daily life, shows up clearly with his demeanor, as his work now is being showcased globally, on the Discovery Channel[v], and he himself agreed with me when I pointed this out to him. Over time, he could see it himself, but like the food color in the water, it is difficult to pinpoint the change as it's occurring. How do we change our belief and identity over time? Other than continual study, and learning that leads to growth, what else would the experts in the field of learning suggest? We can review the science behind self-belief, and where belief exists in the brain, by going back to EP 199 where we covered this, but today, I've got to go back to the seminar industry, because so much of what yielded success in those early days, worked for some reason, (I can list so many who have surpassed their goals with these principles) so my goal today is to revisit these age-old strategies, that have been around for over 2,000 years. Today's episode takes us back to this one book that speaker Bob Proctor would talk about in every seminar, and even in his book, Change Your Paradigm, Change Your Life[vi]. If you've ever been to one of his events, you'll know what I'm talking about. He would say “You know, you've got to read Stella Adler's The Art of Acting” whether he was talking to a regular person, like you or me, or an Oscar Award Winner, like Phil Goldfine[vii], who listened to what Bob told him, then took the action that led to his Oscar Award in 2014. I remember Phil standing and holding this prestigious award at the last seminar I attended in January 2016, explaining that it all started when Bob told him to write down his goals, and he did, and the next thing I knew, here he was, standing up and holding his Oscar, while the audience just listened to how simple it was for him to achieve it.    Phil Goldfine would tell you it was just his belief that did it, and he went on to use the same principles to achieve something next with swimming, something he had yet to perfect, that I'm sure he has achieved by now. It took me two seconds to find an interview from 2019 with Phil Goldfine that showed me he DID in fact hit his swimming goal, and many others that he declared back in 2016 when he showed us his Oscar. What he said got him there was “action”[viii] and that's one of the secrets within the pages of that book that Proctor recommended we read every seminar, The Art of Acting. Stella Adler's technique, called “Method Acting” is founded on an actor's ability to imagine a character's world. Now it's all starting to make sense to me why Proctor would love this book, and talk about it so much, as he would hold his hand out and get us to all look up into the air, and “build our castles in the sky.” He was trying to get us to “imagine” the world we wanted to build. It's called “Method Acting” and now I can see exactly how acting is connected to self-belief, building our identity, and goal-achievement. Stella Adler was the only American artist to study with Konstantin Stanislavski, a prominent figure in Russian theatre and her technique encouraged actors to expand their understanding of the world, in order to create compelling performances. You know, what we don't understand, or we don't connect with, we tend to ignore, and that's what I did when Bob talked about acting. I remember thinking, oh shoot, here he goes again about that acting book, as he would stand on stage, and explain how Laurence Olivier could transform his character, and move his audience, using something called “Method Acting.” Now I'm not at all into movies, and not usually star stuck by actors or fame as I've met many from this industry along the way, and I marvel at how they do what they do, but I'm most interested in the journey that got them to where they are today. I met film Director David Webb[ix], while he was shooting the horror film Taking Lives, with Angelina Jolie, Colin Farrell[x], while he was filming A Home at the End of the World, and they were both “out of character” and relaxing, just chatting to me about what they were working on. Then, I sat at a lunch table next to Stephen Spielberg[xi], and listened to what his day to day conversations, which was nothing out of the ordinary, but when I met Sean Penn, I KNEW he was an actor. Sean was in a swimming pool, with sunglasses on, and introduced himself to me as “hey, I'm the make-up guy” with an accent anyone from the 1980s could place, and I just laughed, knowing full well that he was playing the character of Jeff Spicoli, from Fast Times at Ridgemont High, just to see my reaction. I glanced over at his wife, Robin Penn at the time, and just laughed. This was no make-up artist. He was Jeff Spicoli, and we all knew it. He was “Method Acting” and it's taken me almost 20 years to learn about this method. This weekend I finally read the book that Bob Proctor would recommend in every seminar, Stella Adler's “The Art of Acting.” I never understood what an acting book would have to do with setting and achieving goals, so I brushed it off, and never read it. What a huge mistake. Just a glance at the table of contents and the lights went on (pun intended). Stella Adler was teaching acting in a way that Proctor taught us success principles in the seminar world. “You'll never be great unless you aim high” or “ideas are difficult because they are on paper, but read them several times slowly, the ideas will become yours and you'll be able to give them back.” Stella Adler Bob's practices were right in line with Stella's. He used to have us focus on a sentence, word by word, until we integrated the idea into our daily life (Thomas Troward as an example). So what does acting, a profession that's almost 2,000 years old, have to do with goal-setting and achievement?[xii] I didn't see it either, until I actually read “The Art of Acting” and started to put the pieces together. There is a connection between reaching those high levels of achievement, that leads to a change in self-belief, and it begins with an understanding of “the stage” that Stella Adler outlines in her book. I found an article written by Amy Beilharz, that outlined the Top 4 tips from this book, that translates to our everyday life, called “What Do the Oscars and Your Success Have in Common.”[xiii] She talks about “acting” as “doing” describing the lessons she learned in the book. This book is something you just have to read, and you'll see what I mean as you will see something in yourself, that you might not have seen before. She outlines 22 lessons, that were her classes, and begins with a powerful story from Laurence Olivier. I heard this story over and over again from Proctor, and I used to zone out because I just didn't see what was so profound about some actor on stage, but after reading these pages, I began to connect the dots. Proctor tells it better, but the main idea is that Laurence Olivier played Othello in a way that one night, blew the entire audience away. At the end of the show, everyone asked him “how did you do it” and he said “I don't know” because he really didn't understand what he did. He later discussed on interviews that he had massive anxiety about this, as he didn't know how to replicate what he had done, and worried he'd never be able to do it again. I KNOW WHAT HE DID. And it took me back to PART 5[xiv] of our Think and Grow Rich book study, where we learned about how to transmute our energy from one form into another. It's one of the “Secrets” is in the pages of Stella Adler's “The Art of Acting” that explains why Laurence Olivier moved his audience. He became someone else while he was on stage in a way that no one had seen before. Like Sean Penn who became Spicoli, he became Othello in a way that hit the audience from the spiritual, intellectual and physical mind, and it was masterful. It was unforgettable. I bet it took the breath away from those watching. It shocked Laurence Olivier just as much as it shocked his audience. You'll know what I mean when you think of an artist that hits you to the core on all 3 levels (spiritual/soul, intellectual/ mind, and physically as you can feel the performance). I can name a few artists I've seen who can do this. Think about this for a minute? Can you? Who moves you to the core when you watch them perform, that you can barely speak? You're captivated. That's Stella Adler's “The Art of Acting” And it takes the belief of the artist FIRST. REVIEW AND CONCLUSION: To review this week's Brain Fact Friday, we went back to EP199 on “The Neuroscience of Self-Belief and Our Identity”[xv] that took us back to improving our self-awareness that we covered on EPISODE #2[xvi] of our podcast back in July of 2019. We looked at where self-belief and our identity exist in the brain and we pondered: Where does self-belief come from? How does it get instilled in us? How can we inspire it in others? Then we looked at Stella Adler's “The Art of Acting” to see what acting has to do with self-belief, our identity, goal-setting, and goal-achieving. There were many timeless lessons in the pages of her book, and I do hope that you will read this book yourself, but here are the ones the stood out the most to me. ACTING IS DOING: (Class 3) She says that “you learn acting by acting” and isn't that true, that we learn when we take action. But Stella Adler was very strict with the actions that she takes. She said it in the beginning that she is strict about what she eats, and equally as strict about what she reads. She was also very strict about how someone stands, walks and presents themselves saying “if your body is not in good shape, your acting cannot be in good shape.” (p18). THE ACTOR NEEDS TO BE STRONG: (Class 4) where she reminds us again of the importance of health and sitting upright, not looking like we have “broken bodies that turn inward.” I can just imagine her yelling out “sit up straight” to her students, as I remember that was the key to projecting our voice when I was in choir in 5th We were taught to breathe from our diaphragms and she explains this with the importance of projecting our voice. And to build our voice she suggests “to read an editorial aloud every day.” First, read it with a normal voice, and then your voice should get “bigger and bigger, stronger and stronger.” (p55). I can tell you for sure that recording solo podcast episodes has helped me to build my voice. I know I speak much differently into the microphone, than I do if I'm talking to someone in person, or even on the phone. My WHOOP device logs my heart rate that goes well into the target heart rate zone every time I record my voice, and over time, I do see this practice has helped me to improve my speaking and presentation skills. I know there's ALWAYS room for improvement here, but that's what Stella wants us to remember. DEVELOPING THE IMAGINATION: (Class 5) Stella reviews the importance of health again here, and how “we are instruments of our bodies, and have to keep them in optimal condition.” (Page 63). We've focused entire episodes to the theme of health (mental and physical) on this podcast, as I also believe that without our health, we are at a disadvantage, but she connects this to our ability to create something in our minds. Stella teaches her students how to “live imaginatively” building images on the screen of our mind first saying that “anything that goes through your imagination has a right to live.” (Page 66). She has many exercises in this class to build up your imagination faculty so you can “bring aliveness” to your acting, which is much different than just acting “the facts.” She says that “you must give back life and not death.” YOU MUST DRESS THE PART: (Class 16) This chapter we heard over and over again in the seminars, as Proctor lived it himself. It was rare to see him wearing jeans, even when I had to drop something off at his house, he would be dressed up. He talked about the importance of “dressing for success” especially when working from home, and treating a home office, just as you would if you had to drive to one. Stella believed the same, saying that “You are what the clothes makes of you. Clothes say something about your self-control, your self-awareness, your social awareness. Clothes say something about your ability to be restrained, your ability to be respectful.” (Page 192). She says that when you come on stage, to “stand in a way that expresses power that comes from the ground up.” (Page 196) I agree with her that you can feel the power, and energy with the way you dress, and stand tall. The fastest way to “feeling” successful, is to put in the effort to look your best every day. PORTRAYING CLASS ON STAGE: (Class 22) This is where Stella talks about “the method” where “understanding your character has to go beyond your own life.” (Page 253). She asks us to imagine playing a peasant, and getting into the character with class, by looking at Van Gogh's painting of peasant boots saying “that everything has value. Nothing is old—or rotten.” (Page 252). Stella learned “method acting” directly from Russian playwright Konstantin Stanlisvaski who “directs the actor to apply deep personal and emotional connections to a role to achieve a realistic and naturalized performance.”[xvii] Not all actors believe in this “method” as Laurence Olivier was famous for “expressing disdain for method acting while filming the 1976 film Marathon Man. Exasperated with the lengths his co-star Dustin Hoffman was going to for his role, (who actually stayed up for days to become sleep deprived) and Olivier asked, My dear boy, why don't you just try acting”[xviii] which I thought was hilarious and so very true. Stella Adler “was wary of Stanislavski's idea of emotional recall to generate emotions on stage and felt it limited actors to their small realms of experience.”[xix] Adler believed more in cultivating the actor's imagination to bring their characters to life. I hope that you can now see, like I did, the clear connection that exists between acting and our future success. Some people like Phil Goldfine, or Sean Penn, have used these practices to reach great heights with their careers, and Proctor would call these people “consciously competent” as they were aware of what they were doing to get these results. Others, like Laurence Olivier, were shocked and amazed at their results, having no idea what they had done, and Proctor would call people like this “unconsciously competent” meaning they couldn't explain what they had done. While I know we all won't be as good as Laurence Olivier or Sean Penn, right away, the goal is to keep reading, learning and getting better at whatever it is we are doing, so that our results become predictable, aimed high, and that we work towards being consciously competent at whatever it is we are working on. If we can do this, then we can teach it to others who follow in our footsteps. If we can follow Stella Adler's “Art of Acting” with whatever platform or stage we are performing on daily integrating her tips into our work, and aiming at hitting our audience on all three levels: physically, intellectually and spiritually, then we know we are on the pathway towards something special. Remember: She would say “What is acting? Voice. Voice. Voice.” I'm glad I finally read “The Art of Acting” to gain this new perspective of building self-belief and identity, and can now add Stella Adler's tips to help me to become a stronger, more resilient version of myself with her strategies that go back 2,000 years in time. With that, I'll close out this episode, and see you next week.   REFERENCES: [i] Stella Adler The Art of Acting (compiled and edited by Howard Kissel) https://www.amazon.com/Art-Acting-Stella-Adler/dp/1557833737 [ii] https://andreasamadi.podbean.com/e/brain-fact-friday-on-the-neuroscience-behind-self-belief-and-our-identity/ [iii] https://andreasamadi.podbean.com/e/brain-fact-friday-on-the-neuroscience-behind-self-belief-and-our-identity/ [iv] https://andreasamadi.podbean.com/e/case-study-with-paranormal-researcher-ryan-o-neill-on-making-your-vision-a-reality/ [v] Warner Brothers, Discovery UK and Ireland  https://twitter.com/chrisfleming91/status/1647083554118021120/photo/2 [vi] Change Your Paradigm, Change Your Life by Bob Proctor https://www.amazon.com/Change-Your-Paradigm-Life/dp/B09G5132VW/ref=sr_1_1?hvadid=604546232584&hvdev=c&hvlocphy=9030068&hvnetw=g&hvqmt=e&hvrand=4410657837430788254&hvtargid=kwd-622963963620&hydadcr=22592_13493326&keywords=paradigm+shift+book+bob+proctor&qid=1683679068&sr=8-1 [vii] Phil Goldfine Grammy https://www.facebook.com/OfficialBobProctor/photos/phil-goldfine-has-been-a-student-and-friend-of-mine-for-many-years-last-night-hi/10152248842639421/?paipv=0&eav=Afb0ArYL4FwVIZqrj0nxLES9BYlLb6erWqGP8VbuO3_KABPdpfgY-LMt5VWDasplRkM&_rdr [viii] Oscar and Emmy Winner Phil Goldfine Shares 5 Things You Need to Know to Succeed in Show Business Feb. 25, 2019 by Yitzi Weiner https://medium.com/authority-magazine/oscar-and-emmy-winner-phil-goldfine-shares-the-five-things-you-need-to-know-to-succeed-in-show-b3152bbf985e [ix] Taking Lives 2004 https://www.imdb.com/title/tt0364045/fullcredits/?mode=desktop&ref_=m_ft_dsk [x] A Home at the End of the World 2004 https://www.imdb.com/title/tt0359423/ [xi] Stephen Spielberg https://en.wikipedia.org/wiki/Steven_Spielberg [xii] What do the Oscars and your success have in common? https://www.proctorgallagherinstitute.com/9551/what-do-the-oscars-and-your-success-have-in-common [xiii] What do the Oscars and your success have in common? https://www.proctorgallagherinstitute.com/9551/what-do-the-oscars-and-your-success-have-in-common [xiv] https://andreasamadi.podbean.com/e/think-and-grow-rich-book-review-part-5-on-the-power-of-the-mastermind-taking-the-mystery-out-of-sex-transmutation-and-linking-all-parts-of-our-mind/ [xv] https://andreasamadi.podbean.com/e/brain-fact-friday-on-the-neuroscience-behind-self-belief-and-our-identity/ [xvi] https://andreasamadi.podbean.com/e/self-awareness-know-thyself/ [xvii] 7 Actors Who Put the Method into Method Acting by Aiden Canter April 12, 2022 https://collider.com/actors-method-acting/ [xviii] Why Hollywood is Finally Over Method Acting by Emma Nolan April 22, 2022 https://www.newsweek.com/why-hollywood-finally-over-method-acting-1700143?amp=1 [xix] Don't Be Boring: An Introduction to Stella Adler's Technique by Tatum Hunter https://dramatics.org/dont-be-boring/  

I worked in the theatre from ages five to 32, and during that time I learned a lot. Like... a lot. In the main, I acted, but I also directed, designed and made costumes, worked backstage, and once designed a set that was completely made of sails. And I sewed those sails. Yes, me, and all on my own. So, working in the theatre, mainly as an actor, I had to learn how to inhabit a character, and I brought all of that to my creative writing practice - and more. You might have heard the name Konstantin Stanislavski. Stanislavski was a Russian theatre practitioner who developed a system many actors follow to train, prepare, and rehearse. I studied Stanislavski's methods, and here's what I think writers should take from his system. If you'd rather read, here's the accompanying blog post.

From the melodramatic gestures of silent movies to the immersive, intricate performances made possible by 21st century technology, acting styles have gone in and out of fashion. But no acting technique is more mythologised or misunderstood than The Method. Mark Kermode and Ellen E Jones are getting under the skin of method acting to find out what it is, how it changed the face of American cinema, and why it's not to blame for some truly weird on set behaviour. Ellen talks to writer and historian Isaac Butler to trace The Method's roots back to the Russian actor, director and theorist Konstantin Stanislavski. They discuss The Method's founding father in America Lee Strasberg, some key Method performances, and how acting is changing today. To learn what it's like to study The Method, Ellen talks to British actor and writer Louise Brealey about her time at the Lee Strasberg institute, learning to laugh at yourself, and never giving in to bad behaviour. Mark talks to British actor Adeel Akhtar about how an opportunity to study method acting changed the course of his life, and not taking your character home at the end of the day. And in a moving discussion, Mark realises a long held ambition to interview Ellen Burstyn, who played - in a long and glittering career - Chris MacNeil in his favourite film, The Exorcist. Ellen studied The Method with Lee Strasberg himself and now, at the age of 89, she is co-President of the institution he led, The Actors Studio. Ellen shares her memories of Lee and brings his creative exercises back to life. In this week's Viewing Notes, actor Jason Isaacs shares his favourite method performance. Produced by Freya Hellier A Prospect Street production for BBC Radio 4

Richard Wagner's epic fantasy opera Lohengrin is a fairy-tale romance, but a disconcerting German nationalism lurks beneath its surface. French director Olivier Py confronts the opera's complexities head on in his upcoming production for Opera Australia. Also, we trace the influence of theatre practitioner Konstantin Stanislavski and his impact on modern acting and theatrical storytelling with Isaac Butler, author of The Method: How the Twentieth Century Learned to Act (Bloomsbury).

Richard Wagner's epic fantasy opera Lohengrin is a fairy-tale romance, but a disconcerting German nationalism lurks beneath its surface. French director Olivier Py confronts the opera's complexities head on in his upcoming production for Opera Australia.Also, we trace the influence of theatre practitioner Konstantin Stanislavski and his impact on modern acting and theatrical storytelling with Isaac Butler, author of The Method: How the Twentieth Century Learned to Act (Bloomsbury).

Richard Wagner's epic fantasy opera Lohengrin is a fairy-tale romance, but a disconcerting German nationalism lurks beneath its surface. French director Olivier Py confronts the opera's complexities head on in his upcoming production for Opera Australia. Also, we trace the influence of theatre practitioner Konstantin Stanislavski and his impact on modern acting and theatrical storytelling with Isaac Butler, author of The Method: How the Twentieth Century Learned to Act (Bloomsbury).

Vox's Alissa Wilkinson talks with cultural critic and author Isaac Butler about his new book, The Method. They discuss the transformation that the craft of acting underwent, tracing its origins from Konstantin Stanislavski in post-revolution Russia, through Hollywood in the mid-twentieth century, up to today. They talk about some of the lesser-known influences and practices associated with The Method, evaluate some touchstone performances in the history of cinema, and speculate about what might happen at this year's Academy Awards. Host: Alissa Wilkinson (@alissamarie), film critic and senior culture reporter, Vox Guests: Isaac Butler (@parabasis), cultural critic, theater director, author References:  The Method: How the Twentieth Century Learned to Act by Isaac Butler (Bloomsbury; 2022) "Why the Oscars are so weird about real people roles" by Alissa Wilkinson (Vox; Feb. 22) "Remembering Hollywood's Hays Code, 40 Years On" by Bob Mondello (NPR; Aug. 8, 2008) United States v. Paramount Pictures, Inc. (334 U.S. 131; 1948) Enjoyed this episode? Rate Vox Conversations ⭐⭐⭐⭐⭐ and leave a review on Apple Podcasts. Subscribe for free. Be the first to hear the next episode of Vox Conversations by subscribing in your favorite podcast app. Support Vox Conversations by making a financial contribution to Vox! bit.ly/givepodcasts This episode was made by:  Producer: Erikk Geannikis Editor: Amy Drozdowska Deputy Editorial Director, Vox Talk: Amber Hall Learn more about your ad choices. Visit podcastchoices.com/adchoices

John Bleasdale talks to Isaac Butler the author of The Method How the 20th Century Learned to Act. “Entertaining … a remarkable story.”--The New Yorker“Delicious, humane, probing.”--Vulture, Most Anticipated Books of 2022"The best and most important book about acting I've ever read."--Nathan LaneFrom the coauthor of The World Only Spins Forward comes the first cultural history of Method acting--an ebullient account of creative discovery and the birth of classic Hollywood.On stage and screen, we know a great performance when we see it. But how do actors draw from their bodies and minds to turn their selves into art? What is the craft of being an authentic fake? More than a century ago, amid tsarist Russia's crushing repression, one of the most talented actors ever, Konstantin Stanislavski, asked these very questions, reached deep into himself, and emerged with an answer. How his “system” remade itself into the Method and forever transformed American theater and film is an unlikely saga that has never before been fully told.Now, critic and theater director Isaac Butler chronicles the history of the Method in a narrative that transports readers from Moscow to New York to Los Angeles, from The Seagull to A Streetcar Named Desire to Raging Bull. He traces how a cohort of American mavericks--including Stella Adler, Lee Strasberg, and the storied Group Theatre--refashioned Stanislavski's ideas for a Depression-plagued nation that had yet to find its place as an artistic powerhouse. The Group's feuds and rivalries would, in turn, shape generations of actors who enabled Hollywood to become the global dream-factory it is today. Some of these performers the Method would uplift; others, it would destroy. Long after its midcentury heyday, the Method lives on as one of the most influential--and misunderstood--ideas in American culture.Studded with marquee names--from Marlon Brando, Marilyn Monroe, and Elia Kazan, to James Baldwin, Ellen Burstyn, and Dustin Hoffman--The Method is a spirited history of ideas and a must-read for any fan of Broadway or American film.Support this show http://supporter.acast.com/writers-on-film. Hosted on Acast. See acast.com/privacy for more information.

Writer Isaac Butler joins co-hosts Kate Wolf and Eric Newman to speak about his new book, The Method: How the Twentieth Century Learned to Act which was published this month by Bloomsbury. The Method traces the dissemination of a style and way of thinking about acting that's so prevalent, it's hard to imagine the performing arts without it today. Originally envisioned by the great actor and textile heir Konstantin Stanislavski, in Moscow, in the late 1800s, the Method, originally known as the System, stressed the importance of emotional realism, research, a character's motivation, and the actor's organic experience. Stanislavski believed actors were meant to be truth tellers and to this end, he developed empathic and imaginative exercises to enhance the authenticity of their performances such as “affective memory” and the “Magic If.” When the Moscow Arts Theater, which Stanislavski co-created, toured its productions in Europe and the US in the early 1920s, it inspired a whole new generation of actors and teachers, including Lee Strasberg and Stella Adler, who would go on to teach the Method to much the acclaim and controversy in the United States. Also, Lewis R. Gordon, author of Fear of Black Consciousness, returns to recommend three books: Sister Outsider by Audre Lorde; Living While Black: The Essential Guide to Overcoming Racial Trauma by Guilaine Kinouani; and Mary Shelley's Frankenstein; or, The Modern Prometheus.

Writer Isaac Butler joins co-hosts Kate Wolf and Eric Newman to speak about his new book, The Method: How the Twentieth Century Learned to Act which was published this month by Bloomsbury. The Method traces the dissemination of a style and way of thinking about acting that's so prevalent, it's hard to imagine the performing arts without it today. Originally envisioned by the great actor and textile heir Konstantin Stanislavski, in Moscow, in the late 1800s, the Method, originally known as the System, stressed the importance of emotional realism, research, a character's motivation, and the actor's organic experience. Stanislavski believed actors were meant to be truth tellers and to this end, he developed empathic and imaginative exercises to enhance the authenticity of their performances such as “affective memory” and the “Magic If.” When the Moscow Arts Theater, which Stanislavski co-created, toured its productions in Europe and the US in the early 1920s, it inspired a whole new generation of actors and teachers, including Lee Strasberg and Stella Adler, who would go on to teach the Method to much the acclaim and controversy in the United States. Also, Lewis R. Gordon, author of Fear of Black Consciousness, returns to recommend three books: Sister Outsider by Audre Lorde; Living While Black: The Essential Guide to Overcoming Racial Trauma by Guilaine Kinouani; and Mary Shelley's Frankenstein; or, The Modern Prometheus.

O oyunculuk sanatının bir mihenk taşıdır. Önerdiği bilimsel sistem tüm biçimlerin anahtarı niteliğindedir. Stanislavski olmadan çağdaş oyunculuk biçimlerini de düşünemeyiz.

Pietro Mascagni's Cavalleria Rusticana kicked off the verismo craze in Italian opera in 1890. Ruggero Leoncavallo's Pagliacci followed two years later. We talk about the ripple effects of the verismo movement in this wide-ranging episode, covering everything from Francis Ford Coppola and Martin Scorsese to Anton Chekhov, Konstantin Stanislavski, Stella Adler and Marlon Brando, along with more Marx Brothers, the Ride of the Valkyries and a surprise appearance by Smokey Robinson and the Miracles.

We look at Eric Morris' approach to instrumental preparation for the Actor. Its a key part of the actors process which should not be overlooked. We discuss - the instrumental blocks and obstacles that actors face & how to address them - how tension inhibits the actor - exercises to overcome tension - how fear can inhibit an actor - Exercises to overcome fear - Relaxation, sensitisation and personal inventory as always, we pack it in and there's a whole lot of goodness in there

The beginning of a brand new Two Guys Talking Craft mini series! In the episode we begin to embark on our journey into the world of master acting teacher Eric Morris. Eric Morris has worked for over 58 years as an acting teacher and his work has spanned over 100 Eric Morris schools around the world who study his approach. We begin to dive deep into the man, his philosophies and why he developed his own acting craft. Jared (@actorsapproachcrafttoolbox) has personal experience of working with Eric and shares his invaluable knowledge of working with this incredible practitioner. Listen to previous episodes of Two Guys Talking Craft on Spotify and Apple Podcasts

We served up a MAMMOTH platter of character techniques for you to feast upon and add to your acting toolkit! we also revealed our one go to technique (if we HAD TO CHOOSE) on how we'd create dynamic and memorable characters. Listen and discover instantly actionable acting techniques that you can use forevermore! listen to previous episodes of Two Guys Talking Craft on Spotify and Apple Podcasts.

In this episode we touch on how you can use the following techniques to create believable relationships script analysis endowments substitutions actions meisner technique the physical and reveal IF WE HAD TO the one technique we'd choose for the rest of our lives as actors to create believable relationships! listen to previous episodes of Two Guys Talking Craft on Spotify and Apple Podcasts

Creating Authentic Emotion- Two Guys Talking Craft (Episode 31) If you've listened to @two_guys_talking_craft before, you'll know that Jared (@actorsapproachcrafttoolbox) and I are huge advocates of ALL of the tools at your disposal from the world of acting craft technique. HOWEVER, For this episode (and two subsequent others) we thought we'd play around with an interesting notion... what if... (Shout out to a great acting technique btw) what if... we could only use one acting technique for the rest of our lives... this week we look at 'what if we could only use one acting technique to create authentic emotion' we give a run down of some of the techniques that deserve an honourable mention and also reveal the 'one technique' we'd pick! listen to previous episodes of Two Guys Talking Craft on Spotify and Apple Podcasts

In our final instalment of diving into the world of Stanislavski we explore another heavyweight topic from the world of Acting Craft. ACTIONS! What you will find out in the episode! about inner actions and external actions and how they have a deep connection. How actions can be a direct way of accessing emotions. Why everything you do in acting has to have a purpose. What you won't find out! whether Stanislavski should be spelled Stanislavski or Stanislavsky.

Un paseo por la vida y aconteceres de Konstantin Stanislavski, uno de los nombres más asociados al teatro en la historia del mundo. Ven a conocer "El método Stanislavski" Con Luis Martínez Vallés Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

"To have the opportunity of seeing Anton Chekhov’s The Cherry Orchard, the final play of the great Russian writer will always be a guaranteed pleasure. To see this enduring classic in a version by Tom Murphy, directed by Garry Hynes with the Druid ensemble, is a special experience. Chekhov’s great work was written in conditions of great change where the life-world of those who enjoyed a privileged existence on estates and in great houses, on which, and within which, serfs owned in body and soul lived out their lives, was being challenged by a new modernity, the rise of Nouveau Riche. Emancipated serfs are familiar with the sentiment of such a class, but positioned for their replacement. Irish playwrights saw the parallels between these Chronicles of Chekhov and the incumbents of the big houses of the 19th Century landlord class in Ireland. Of these playwrights, the great wordsmith of dialogue and poetic feeling is Tom Murphy. The partnership between Druid’s Garry Hynes, the entire company, and Tom Murphy’s work has yielded a rich expression of contemporary Irish creativity for the stage. That now so many more will have access to what was given to us by Anton Chekhov, through his collaboration with Konstantin Stanislavski and the Moscow Art Theatre in their time and Tom Murphy and the Druid Company in our time, reminds us that the stage is, above all else, a space for the soul. In that space the cloying pretentiousness of property possession, respectability and their serving institutions are confronted. Of this Irish gift to the world, among all the gifts, let us hope that they will not only endure but become seeds for the future. Bain taitneamh as an dráma seo, is uaimse, beir beannacht."

Em 1927, Vassíli Toporkov já era um ator consagrado na Rússia quando foi admitido no Teatro de Arte de Moscou, companhia de Konstantin Stanislavski. Stanislavski não costumava contratar atores que não tivessem sido formados por ele, por conta das grandes diferenças na forma de interpretar. Toporkov foi uma excessão. Grande admirador de Stanislavski, integrar o Teatro de Arte de Moscou foi a realização de um sonho, mas nem por isso Toporkov deixou de ter grandes dificuldades de compreensão do método. Neste episódio focamos no seu primeiro contato com o tema "ritmo", do seu livro "Stanislavski Ensaia - Memórias", tema ainda desafiador pro ator hoje. Vassíli Toporkov escreveu ainda vários outros livros sobre sua experiência com o diretor. | Coexiste Teatro https://www.coexiste.com.br/teatro - Instagram: https://www.instagram.com/coexisteteatro/ See acast.com/privacy for privacy and opt-out information.

Maria Knebel (1898 - 1985) foi uma atriz, diretora e pedagoga russa, responsável por perpetuar e divulgar as obras de dois grandes mestres do teatro: Mikhail Tchekhov e Konstantin Stanislavski.

Olga Knipper (1868 - 1959) foi uma das atrizes mais célebres da Rússia. Esposa do dramaturgo Anton Tchekhov e estrela de Konstantin Stanislavski, Olga Knipper se consagrou como um dos mitos das artes cênicas.

Mike Alfreds is a theatre director, adapter, translator and teacher. He talks about the role of the subconscious, the essence of good storytelling, what it means to be really ‘alive’ in a performance, what we can learn from film/ theatre ‘stars’, the danger of overconfidence, the importance of always being 100% ‘ready’ to work , the significance of curiosity and playfulness, the power of looking at a scene/ situation through someone else’s eyes, the difference between ‘making’ things happen and ‘allowing’ things to happen and so much more.Mike founded and was artistic director of ‘Shared Experience’, directed for the Royal National Theatre, Shakespeare’s Globe and the Royal Shakespeare Company. He worked on over 200 productions all over the world. Mike is also known for his special method of instructing actors, inspired by the principles of Konstantin Stanislavski and Rudolf Laban, with emphasis on physical activities, spontaneity and interaction with others. He has written two books ‘Different Every Night’ which describes his approach to theatre and his rehearsal process when working on plays and ‘Then What Happens?’ which describes his techniques when working on adaptations and storytelling. His system of working and his thoughts on the making of theatre have been said to be as crucial and illuminating as Stanislavsky’s and Peter Brook’s.Mark Rylance said about Mike: 'If I was allowed to train again to be an actor, but I was only allowed one teacher, it would have to be Mike Alfreds. To me he is a genius when it comes to acting and storytelling.' Instagram: @michaeldgolabTwitter: @michaeldgolabFacebook: @michaelgolabactor

Conversa com Vicente, amigo e artista polivalente que admiro muito. Ator, músico, cantor e compositor, é mais conhecido por ser um dos integrantes da banda Biltre. O Currículo dele é vasto, mas mais do que isso, a relação de afeto que temos também. Tive a oportunidade de cruzar meu destino com o dele profissionalmente em diversas ocasiões. Com destaque para um dos programas de TV dos quais ele fez parte e que menciona mais pro final de nossa conversa Oncotô, seja enquanto colaboradora de projetos do Biltre, enquanto fotógrafa assídua e diretora do clipe Wilson. Falamos um pouco do ensino no nosso colégio (o CAP), sua infância em Juiz de Fora, seu envolvimento com o teatro, a formação do Biltre, de Educação, cultura, e arte. Todos assuntos que me interessam bastante e que devido aos acontecimentos recentes, urgem reflexão e debate. E ainda, quando são entoados por uma pessoa irreverente e divertida como o Vicente, ganham ainda mais vida e cor. Dentre os nomes que citamos estão: os mestres do teatro Peter Brooks e Konstantin Stanislavski, as marcantes peças brasileiras Irma Vap e 5 vezes comédia, a banda nirvana, os poetas e gênios Jorge Mautner e Gilberto Gil, os pensadores Angela Davies e Paulo Freire, e tantos outros. Pra quem quiser seguir o Vicente pelo Instagram é só encontrá-lo no perfil @coelho.vicente e o meu é @hiperativa. Trilha Sonora do Episódio de hoje: Somos Biltre, Pissaicou - Banda Biltre / Caninana (provisório) - Vicente Coelho / Música Instrumental por Caraminholas --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/interludica/message

Sección del programa de Rpa "La radio es mía" que demuestra que la modernidad es algo que viene de antiguo. Emisión del 17/2/2020, décimoctava de la quinta temporada, y cuarta y última de las que dedicamos al moderno del teatro por antonomasia, Vsévolod Meyerhold. En sus últimos años, Meyerhold es atacado sin tregua por el politburo del PCUS. Le acusan de formalismo y de hacer un teatro burgués, alejado de la realidad y del interés del pueblo. Sus giras por el extranjero son clausuradas, también su teatro de Moscú. En los últimos años sólo consigue trabajar en la ópera como ayudante de su viejo maestro, Konstantin Stanislavski. Tras negarse a leer la autocrítica que le habían escrito y matenerse en su postura de que el realismo socialista no era más que una cosa indigente, fue detenido e ingresado en un gulag en Siberia. El 4 de febrero fue fusilado en Moscú tras ser falsamente acusado de trotskista y espía de Japón y Gran Bretaña. Agentes de la NKVD asesinaron a su segunda esposa y destrozaron su piso de Moscú.

Sección del programa de Rpa "La radio es mía" que demuestra que la modernidad es algo que viene de antiguo. Emisión del 17/2/2020, décimoctava de la quinta temporada, y cuarta y última de las que dedicamos al moderno del teatro por antonomasia, Vsévolod Meyerhold. En sus últimos años, Meyerhold es atacado sin tregua por el politburo del PCUS. Le acusan de formalismo y de hacer un teatro burgués, alejado de la realidad y del interés del pueblo. Sus giras por el extranjero son clausuradas, también su teatro de Moscú. En los últimos años sólo consigue trabajar en la ópera como ayudante de su viejo maestro, Konstantin Stanislavski. Tras negarse a leer la autocrítica que le habían escrito y matenerse en su postura de que el realismo socialista no era más que una cosa indigente, fue detenido e ingresado en un gulag en Siberia. El 4 de febrero fue fusilado en Moscú tras ser falsamente acusado de trotskista y espía de Japón y Gran Bretaña. Agentes de la NKVD asesinaron a su segunda esposa y destrozaron su piso de Moscú.

La linea inquebrantable. A escena. Un libro que disfruté enormemente hace 25 años gracias a José Luis Chavarría. Gran Actor, Director, dramaturgo, guionista y persona. Gracias por existir y encontrarnos, Chava.

Fuerzas Motrices Internas. Sentimientos, Mente y Voluntad.

AdaptaciónUn libro que disfruté enormemente hace 25 años gracias a José Luis Chavarría. Gran Actor, Director, dramaturgo, guionista y persona. Gracias por existir y encontrarnos, Chava.

Comunión Un libro que disfruté enormemente hace 25 años gracias a José Luis Chavarría. Gran Actor, Director, dramaturgo, guionista y persona. Gracias por existir y encontrarnos, Chava.

Memoria emotiva Un libro que disfruté enormemente hace 25 años gracias a José Luis Chavarría. Gran Actor, Director, dramaturgo, guionista y persona. Gracias por existir y encontrarnos, Chava.

Fe y Sentido de la Verdad, Sonya, Grisha, Vania, Tolstov....

1.- deben de estar de este lado de las candilejas, dirigidos a los otros actores, no hacia los espectadores. 2.- Deben ser personales y no obstante....

Capítulo 6. Relajación de los músculos.... Y es que estamos tan tensos... y más en público.

Capítulo 5 . La Concentración de la atención. Un libro que disfruté enormemente hace 25 años gracias a José Luis Chavarría. Gran Actor, Director, dramaturgo, guionista y persona. Gracias por existir y encontrarnos, Chava.

Un libro que disfruté enormemente hace 25 años gracias a José Luis Chavarría. Gran Actor, Director, dramaturgo, guionista y persona. Gracias por existir y encontrarnos, Chava. Capítulo 4 IMAGINACIÓN. ¡Qué bello Roble!

Un libro que disfruté enormemente hace 25 años gracias a José Luis Chavarría. Gran Actor, Director, dramaturgo, guionista y persona. Gracias por existir y encontrarnos, Chava.

Siapa itu Stanislavski dan apa itu The System?

Method acting is a range of training and rehearsal techniques that seek to encourage sincere and emotionally expressive performances, as formulated by a number of different theatre practitioners. These techniques are built on Stanislavski's system, developed by the Russian actor and director Konstantin Stanislavski and captured in his books An Actor Prepares, Building a Character, and Creating a Role.   Twitter @gormpodcast https://twitter.com/gormpodcast Our website https://gormpodcast.com/    Scrolls & Swords is by Reddit user McDie88 and is a reskin of Lasers and Feelings The Game: https://www.reddit.com/r/rpg/comments/1ruq1d/i_reskinned_rethemed_lasers_and_feelings/ Lasers and Feelings is a game by John Harper The Game: http://onesevendesign.com/lasers_and_feelings_rpg.pdf His Website: http://www.onesevendesign.com/

How might Konstantin Stanislavski, probably the best-known acting teacher in modern history, coach a lawyer on writing a motion to dismiss? For this month's episode of HearSay, Law Week sat down with Joe Daniels, a business litigator and theater buff, to talk about how acting theory can apply to litigation. Reporter: Doug Chartier Producers: Julia Cardi, Scott Hicken Managing editor: Tony Flesor

In the history of teaching acting, there are legends whose skills revolutionized the craft and continue to shape the education of great actors to this very day. Legends like, Konstantin Stanislavski, Lee Strasberg, Sandy Meisner, Stella Adler, Herbert Berghof and Uta Hagen come easily to mind. Then there is the chapter on voice acting, where you can add Patrick Fraley’s name to this venerable list. As his students, some of whom have become excellent teachers, and others who have become voiceover superstars, begin to share their stories about Pat, history, in its infinite humility, will embrace his contribution as the Fraley Technique. They will happily announce that they learned under his tutelage or that they went to a school where his technique was taught. Fortunately, Pat Fraley is still sharing his wisdom across the country, mounting personalized master classes in voicing commercials, TV and movie narration, promos, animation, audiobooks, and most every other genre in the voiceover sphere. You don’t enter the world of voice acting without hearing his name and a few anecdotes, but history will prove that you missed out on something very special, if you never got to sit in his classroom and feel the sensation of your whole being blossoming like a flower. Patrick Howard Fraley is a true master teacher and an indispensable resource to the industry.

In this edition of weekly highlights, David Benedict reviews the New Year Blockbuster Les Misérables. Philip Dodd is joined by Professors Michael King and Linda Woodhead, and theologian Mark Vernon, to explore whether we can make any sense of the idea of ‘spirituality' without religion. And Anne McElvoy and guests discuss the life and work of the Russian director Konstantin Stanislavski, born 150 years ago this month.

Anne McElvoy and guests discuss the life and work of the Russian director Konstantin Stanislavski, born 150 years ago this month. Adam Mars-Jones reviews Utopia, a new drama on Channel 4. Which should be our priority, growing the economy or protecting the environment? Environmental campaigner Tony Juniper joins Anne, along with Dr Benny Peiser to discuss. And the historian Jonathan Healey, one of our New Generation Thinkers, reflects on the proposals to change succession laws and what they might mean for the future of our monarchy.

Part 3 - In this segment Donna Davis discusses the lineage of the acting that she teaches. Mentioned in this segment are Konstantin Stanislavski, originator of the Moscow Art Theater and the method, a synynom for the then revolutionary techniques used to teach realistic acting and Sanford Meisner, a member of the Group Theatre who started his own acting school. (4:19)Part 3 - Very Close to CD-Quality MPEG-4 (Broadband) (4.0M)Part 3 - High Quality MPEG-4 (ISDN) (2.0M)Part 3 - Highest Quality MPEG-4 available for Dial_up (1.5M)