THE USE OF STANISLAVSKY PRINCIPLES AND TECHNIQUES IN PROFESSIONAL ACTOR TRAINING IN NEW YORK CITY.
Item
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Title
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THE USE OF STANISLAVSKY PRINCIPLES AND TECHNIQUES IN PROFESSIONAL ACTOR TRAINING IN NEW YORK CITY.
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Identifier
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AAI8119668
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identifier
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8119668
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Creator
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MONOS, JAMES.
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Contributor
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Prof. Stanley A. Waren
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Date
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1981
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Language
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English
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Publisher
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City University of New York.
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Subject
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Theater
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Abstract
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This study examines the philosophic bases and teaching methods employed in major professional acting schools today, and compares them to the principles and techniques as found in Stanislavsky's work in order to determine to what extent his teachings have been incorporated into such actor training; and, to ascertain the similarities and differences that exist from school to school, vis-a-vis, Stanislavsky's theories and practice.;The eight representative schools selected for this study, all located in New York City, the theatre capital and professional actor training center in the USA, are: (1)Lee Strasberg Theatre Institute, (2)Stella Adler Theatre Studio, (3)Neighborhood Playhouse, (4)Sonia Moore Studio of the Theatre, (5)H B Studio, (6)American Academy of Dramatic Arts, (7)New York University Theatre Program, (8)Juilliard Theatre Center.;In the second chapter, based mainly on the writings of Stanislavsky and his disciples, eight principles and related techniques are formulated. In each of the succeeding eight chapters, one chapter devoted to each school, data compiled from the above schools (based primarily on observation of classes, taped interviews with representative staff and published materials) is analyzed in order to determine each school's (1)teaching philosophy and (2)training methods which are fundamental to and representative of the curriculum.;In the final chapter there is a brief summary of the principles and techniques formulated for this study, as well as each school's theory and practice of training. It is noted that common to all schools are two main categories of training, regardless of curriculum or its duration: (1)Work on self and (2)Work on the part.;It is further noted that most of the Stanislavsky principles formulated for this study are fundamental in the training program of each school, allowing for differences of emphasis. The cardinal principle: Through conscious, creative technique, the actor's subconscious is made accessible, is the foundation of each school's training. It is also determined that some techniques have become outmoded or psychologically suspect, but the degree of integration into each school's curriculum demonstrates that Stanislavsky teachings play an integral role in the training of the American professional actor.
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Type
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dissertation
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Source
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PQT Legacy CUNY.xlsx
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degree
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Ph.D.
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Program
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Theatre
