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MICHA: The Future of Theater

What Did Stan Say?

KD Gonzalez - 8 July 2014

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“What Did Stan Say?” by Patrick (12:30-2pm Arbor)

imgination and psychology integrated – mind, will & heart all joined together

how an actor brings a character into being: the actor's soul is a dimension of a human

being that helps you sense the world – man's creation of art comes from the divinity of

God: trinity (mind, will & feeling) –> God thinks of stars and wills them into being

“tvorchestvo” - the creative process /creativity; putting life into spirit

Stanislavski's first book is about a actor's wor on himself wthinn the creative sphere of

himself

The second is about bringing embodiment into his body (creating a role)

It's not alive unless you feel it underneath

craft (external) & passion (internal)

experience vs representation

physical world and internal world

MIND constructs

SOUL wills into being (like the Holy Spirit)

HEART is the center of feeling

Soul is a trainable part of the system

you are always radiating and receiving from every object

*Patrick felt that, overall, a lot of what got translated from Russian into Western

languages got miscommunicated. Including what I've written above (those are

the “truths” to what Stanislavski said), and also particularly the following things:

public solitude - The west created a fourth wall, but it was believed in Russia that there

was a period where you radiate out to the audience and you feel their energy radiating

back. There is no such thing as being completely alone because everything is radiating

to you with its own energy.

dynamism - is actually activeness

Western translations did not pick up on “mysticism” in Russian culture because it was

being translated in a time where we viewed them as communist (but you can still

detect the mysticism ‘underneath’/embedded within the communism)

You can do things that censors cannot get during the live performance (when

compared to reading).

The idea of the ideal self –> creating human spirit of the role

creation of the life of the spirit of the role and transmitting that life on the stage.

Gabriel's session about Earth (2:30-4pm, The Big Tree)

((I came in about 20 minutes into the discussion))

Yan suggests trying to find a way to capture an audience's attention for subjects, like

how street performers capture podestrians' attention

Joanna wondered what could be done through theatre to make the difference

We asked, how do we talk about “The Earth is angry” as a story? –> KD said that this

is a similar process as trying to find a psychological gesture. The story is the body

and “the Earth is angry” becomes the gesture.

How can we speak for things taht cannot speak our human language to tell its story?

But then Peter pointed out that we, as humans, ARE part of the story because we are

connected to the Earth.

Patrick's discussion on those who studied under Stanislavsi ( 4-5:30pm Arbor)

Stanislavski:

–> was an emblem of Soviet culture so he was not killed when Stalin came into

power

–>gives up the Moscow Art Theatre because he no longer wanted to be under

Soviet regulation and went to opera. (he kept developing his method, but the new

Soviet Union wanted the old version)

–>Died of a heart attack

- Sulerzhitzski: Stan's “second in command”

- Vakhtangov: most talented, explored Stan's work - Fantastic realism

–> Carnival circus on stage (“theatricality”)

- Tairov: naturalistic/realistic idea of the Moscow Art Theatre

- Meirhold: constructivism: modes & forms of machines to describe the world (had

three centers in terms of machinery)

–> once Soviet realism became ideal, he continued to keep working and got

carded off by the gov (He uses Vershinnon's line from Three Sisters to let his wife know

that he will not be coming back because he knew that the gov had their eye on him)

- Chekhov: Stan gave him Moscow Art Theatre & introduced to Steiner (eurythmy)

–>Chekhov goes “coo-coo for coconuts” (you mean “cocoa-puffs,” Pat?) and

becomes an alcoholic. Stanislavski brings in psychologists for Chekhov, and they began

to get into hypnosis and mystical.

-Meisner was told by Stan to “create your own lesson” because he was American

post revolution -> 1919ish ->mystical era->late 1920s -> Chekhov leaves -> Stalin &

socialist revolution

**All techniques are psycho-physical and physical

“Everything you do on stage has to be a result of your imagination.” - Stanislavski

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