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2 Slovenské divadlo (Slovak Theatre)

2 2011

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IRREPLACEABLE ROLE OF ACTOR'S UNIQUENESS: STANISLAVSKI'S WORK MADE ACTING SEARCH FOR ITS SOUL (Nezastupitelna role herecke jedinecnosti: vystoupenim Stanislavskeho se herectvi vydalo hledat svou dusi)

100%

Vinar J.

tom 59

nr 1

3-13

The search for intimacy is taken from the concept of how emotive a role is as the core experience. The range of emotions does not come across as a jealousy, anger, love an sich, but more as a changes in mood, which opens up a world of unique deep-rooted situations and a world of on going discourse as a whole. The actor is experiencing his artistic personality and character in creative tension. This fluctuation in changing moods corresponds with the varying bonds of actors - a figure /character and its formation. These findings add to its personification through using their artistic experience and Jouvet reflection. The actor and his character conduct a dialogue of multiple personalities. All of this is the basis of a spiritual tradition in what actors create and their training. History is becoming a 'well-trained actor' prepared by schools of clear cut indoctrination. The Present is a creative acting, going beyond the boundaries of mere current knowledge.

HEREC AKO OBJECT KRITIKY A PEDAGOGIKY

88%

Kret A.

tom 59

nr 4

305 – 309

After the end of World War II in Europe, a generation of young dramatists stepped forward in Slovakia who despite the very vague idea of theatre as the authorial art was sure to create the theatre that their older colleagues would not be able to dream about. Indeed, the absolute lack of the theatre training and education was obvious. But what they knew was that they need to play with passion and according to Stanislavski, with the soul in the hand. Together with the whole post-realistic world of theatre they enthusiastically accepted his deconstruction of orchestra to individual instruments. Our post-war theatres deployed Stanislavski system, which was the official system of theatre work in the Soviet Union and satellite socialist countries. As early as in the twenties of the last century, the Russian avant-garde was cut off within the Soviet Union and the same situation occurred after the „victory of the working people“ in 1948 in our country. Stanislavski system, as it was officially called in the Soviet Union as well as in our country, suddenly became the only possible method and form of theatre work. In Slovakia, only Budský and later his students Haspra, Pietor, Vajdička and Oľha knew how to confront this method.