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Stanislavsky in Focus brilliantly examines the history and actual premises of Stanislavsky’s 'System', separating myth from fact with forensic skill.
The first edition of this now classic study showed conclusively how the 'System' was gradually transformed into the Method, popularised in the 1950s by Lee Strasberg and the Actor’s Studio. It looked at the gap between the original Russian texts and what most English-speaking practitioners still imagine to be Stanislavsky’s ideas.
This thoroughly revised new edition also delves even deeper into:
- the mythical depiction of Stanislavsky as a tyrannical director and teacher
- yoga, the mind-body-spirit continuum and its role in the ‘System’
- how Stanislavsky used subtexts to hide many of his ideas from Soviet censors.
The text has been updated to address all of the relevant scholarship, particularly in Russia, since the first edition was published. It also features an expanded glossary on the System's terminology and its historical exercises, as well as more on the political context of Stanislavsky's work, its links with cognitive science, and the System's relation to contemporary developments in actor-training. It will be a vital part of every practitioner's and historian's library.
- Sales Rank: #13180541 in Books
- Brand: Sharon Marie Carnicke
- Published on: 2008-10-21
- Format: Abridged
- Original language: English
- Number of items: 1
- Dimensions: 9.21" h x .63" w x 6.14" l, 1.30 pounds
- Binding: Hardcover
- 272 pages
- Stanislavsky in Focus
Review
'Outstanding ... There are innumerable books about Stanislavsky. "Stanislavsky in Focus" is the only book worth taking seriously.' -- "David Chambers, Yale School of Drama, USA" 'Sharon Carnicke has single-handedly begun to demystify Stanislavsky's influence for theatre practitioners everywhere.' --" Anne Bogart, Columbia University, USA" 'Carnicke's is the finest book I have read on the work of Stanislavsky in many, many years.' -- "Andre Gregory, Actor and Director" 'Essential reading for every actor, whether experienced or a novice.' -- "Ed Hooks, Acting Coach"
About the Author
Sharon Marie Carnicke is widely known for her groundbreaking work on Russian acting techniques, her innovative examination of film acting, and her recent collaboration with computer scientists on acting’s place in virtual reality. With a Ph.D. in Russian from Columbia University and professional performance experience in New York, Moscow and Los Angeles, she speaks to theatre practitioners and scholars alike. She is currently Professor of Theatre and Slavic Languages at the University of Southern California and the leader of a workshop on Active Analysis (A/ACT) in Los Angeles.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Good read
By Amazon Customer
More scholarly less artistic but interesting.
1 of 2 people found the following review helpful.
Very interesting for theater practitioners
By S. Arevalo
Illuminates aspects of Stanislavsky as yet misunderstood and undiscovered. Reveals the spiritual side of his work. Corrects misinterpretations regarding affective memory.
3 of 3 people found the following review helpful.
Essential Companion to Stanislavski's Work
By Jane Brody
Sharon Carnicke's book, Stanislavski in Focus, is an absolute necessity for any serious student of acting. Many students don't read Stanislavski at all, but pick up third and fourth hand misinformation, and proceed to believe that they know who the man was and what he postulated.
The problem is exacerbated for American readers of Stanislavski's towering work (now given a superior translation by Jean Benedetti, as An Actor's Work) in that they have little knowledge of the influence the Communist Revolution and the Stalinist regime had on the publication and the word choices that Elizabeth Hapgood, the original American translator was forced to use. Looked at through the prism of Soviet Materialism, the colorless words, ‘super-objective’, ‘objective’, ‘task’ and other such terms make sense. The language is not that of artists; it is that of factory owners. Ms Carnicke's work opens an entire field of thought concerning Stanislavski's work.
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