Sleep no more nudity
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It also leads me to something I experienced fully – the sense of this highly stylized production being more ‘real’ than most realism I’ve seen. Even for characters who were less specifically delineated, this actor told me that they have taken the time to develop a whole back-story with given circumstances, motivated idiosyncrasies, etc. One actor assured me that the characters they play each have a fully-developed “through-line” that accounts for everything the character does moment to moment. They had their basic training in Stanislavski methodology. It is the truth of the actor’s behavior that will keep the audience’s attention."Īfter my last viewing of the show, I had the amazing opportunity to speak peer to peer to some of the actors at the bar, and I’ve continued the conversation with a couple of very gracious performers upon my return to Dallas.
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There is no contradiction between unconventional staging and an actor who lives the inner experiences of the character. … This is even more important in an unconventional production…. Stanislavski believed not in naturalism, which presents the surface of life, but in … truth of content. These teachings are beyond the limits of one theatrical direction in their historical significance.
#SLEEP NO MORE NUDITY SERIES#
" not a series of rules for staging a naturalistic play or any other play. So, I went back to my Stanislavski texts, and was delighted to read this quote from Sonia Moore, who studied at the Moscow Art Theatre: Still, Stanislavski’s work is most often associated with naturalism, hence my interest in whether his ‘normal’ means of preparing a character, analyzing a text, or experiencing a theatre piece can be applied to something as different as SNM. BUT Stanislavski also meant “truthful” – not absolute photo/emotional-realism. Stanislavski sought something more authentic, expressions of the real human condition. In many ways, all of Stanislavski’s work was a reaction against that norm which he found unsatisfying both as an actor and a spectator. In Stanislavski’s youth, theatre was of the declamatory type – the actor was charged only with being heard and proper execution of the stylized physical poses that supposedly communicated emotions or mental states. Can you apply something generally associated with naturalism to something that is pretty ‘out there’ and avant-garde? Well, I have found it fruitful to explore Stanislavski’s notions of ‘realism’ and ‘naturalism.’ SNM is so ‘strange’ in that it’s not totally linear/chronological, there are few spoken words in anything except in 1:1s, the stories unfold primarily through movement and dance.
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Consequently, it is the most common technique still taught, in some form, to American actors at the secondary and undergraduate levels.Īfter seeing SLEEP NO MORE for the first time, I began to wonder if Stanislavski’s system was relevant to that show. Uta Hagen, Stella Adler, Michael Chekhov, Boleslavski, Strasberg, Harold Clurman, etc. Stanislavski changed acting forever, and his writings form the foundation of theory/practice for almost every great acting teacher who taught in America from the 1930s to the present. He wanted to make the theater of his day more ‘realistic ’ he wanted a codified, effective method for training actors and he wanted a technique that would encourage the illusive but ultra-potent state of what he called ‘inspiration’ to manifest itself frequently, even reliably.
#SLEEP NO MORE NUDITY PLUS#
An actor himself, plus a theoretician, director, and teacher, Stanislavski devoted his life to the theatre. Constantin Stanislavski – the father of modern acting technique.