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'''Константин Сергејевич Станиславски''' ({{јез-ру|Константин Сергеевич Станиславский}}; [[Москва]], [[5. јануар]] [[1863]] — [[Москва]], [[7. август]] [[1938]]) је био [[Русија|руски]] позоришни [[глумац]], театролог и режисер. Оснивач је Художественог театра у [[Москва|Москви]] [[1898]]. и уметнички руководилац и идеолог тог позоришта до краја живота [[1938]]. Као велики позоришни иноватор имао је значајан утицај на савременике.
'''Константин Сергејевич Станиславски''' ({{јез-ру|Константин Сергеевич Станиславский}}; [[Москва]], [[5. јануар]] [[1863]] — [[Москва]], [[7. август]] [[1938]]) је био [[Русија|руски]] позоришни [[глумац]], театролог и режисер.<ref>Stanislavski's first name is also [[Transliteration|transliterated]] as "Constantin", while his surname is also transliterated as "Stanislavsky" and "Stanislavskii". As discussed below, "Stanislavski" is a stage name.</ref> Он је оснивач Художественог театра у [[Москва|Москви]] [[1898]]. и уметнички руководилац и идеолог тог позоришта до краја живота [[1938]]. Као велики позоришни иноватор имао је значајан утицај на савременике. He was widely recognized as an outstanding [[character actor]] and the many [[List of productions directed by Konstantin Stanislavski|productions that he directed]] garnered him a reputation as one of the leading theatre directors of his generation.<ref>Benedetti (1999b, 254), Carnicke (2000, 12), Leach (2004, 14), and Milling and Ley (2001, 1).</ref> His principal fame and influence, however, rests on [[Stanislavski's system|his 'system']] of actor training, preparation, and rehearsal technique.<ref>Carnicke (2000, 16), Golub (1998a, 1032), and Milling and Ley (2001, 1). Stanislavski began developing a 'grammar' of acting in 1906; his initial choice to call it his System struck him as too dogmatic, so he wrote it as his 'system' (without the capital letter and in inverted commas) to indicate the provisional nature of the results of his investigations—modern scholarship and the standard edition of Stanislavski's works follow that practice; see Benedetti (1999a, 169), Gauss (1999, 3–4), Milling and Ley (2001, 1), and Stanislavski (1938) and (1957).</ref>

Stanislavski (his stage name) performed and directed as an [[Amateur theatre|amateur]] until the age of 33, when he co-founded the world-famous [[Moscow Art Theatre]] (MAT) company with [[Vladimir Nemirovich-Danchenko]], following a legendary 18-hour discussion.<ref>Benedetti (1999a, 59), Braun (1982, 59), Carnicke (2000, 11–12), and Worrall (1996, 43).</ref> Its influential tours of Europe (1906) and the US (1923–24) and its landmark productions of [[Moscow Art Theatre production of The Seagull|''The Seagull'' (1898)]] and [[Moscow Art Theatre production of Hamlet|''Hamlet'' (1911–12)]] established his reputation and opened new possibilities for the art of the theatre.<ref>Benedetti (1999a, 165), Carnicke (2000, 12), Gauss (1999, 1), Gordon (2006, 42), and Milling and Ley (2001, 13–14).</ref> By means of the MAT, Stanislavski was instrumental in promoting the new Russian drama of his day—principally the work of [[Anton Chekhov]], [[Maxim Gorky]], and [[Mikhail Bulgakov]]—to audiences in Moscow and around the world; he also staged acclaimed productions of a wide range of classical Russian and European plays.<ref>Carnicke (2000, 12–16, 29–33) and Gordon (2006, 42).</ref>

He collaborated with the director and designer [[Edward Gordon Craig]] and was formative in the development of several other major practitioners, including [[Vsevolod Meyerhold]] (whom Stanislavski considered his "sole heir in the theatre"), [[Yevgeny Vakhtangov]], and [[Michael Chekhov]].<ref>Bablet (1962, 133–158), Benedetti (1999a, 156, 188–211, 368–373), Braun (1995, 27–29), Roach (1985, 215–216), Rudnitsky (1981, 56), and Taxidou (1998, 66–69).</ref> At the MAT's 30-year anniversary celebrations in 1928, a massive heart attack on-stage put an end to his acting career (though he waited until the curtain fell before seeking medical assistance).<ref name="Benedetti 1950">Benedetti (1999a, 317) and Magarshack (1950, 378).</ref> He continued to direct, teach, and write about acting until his death a few weeks before the publication of the first volume of his life's great work, the acting manual ''An Actor's Work'' (1938).<ref>Benedetti (1999a, 374–375) and Magarshack (1950, 404).</ref> He was awarded the [[Order of the Red Banner]] and the [[Order of Lenin]] and was the first to be granted the title of [[People's Artist of the USSR]].<ref>Carnicke (1998, 33), Golub (1998a, 1033), and Magarshack (1950, 385, 396).</ref>


== Биографија ==
== Биографија ==
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== Референце ==
== Референце ==
{{reflist}}
{{reflist}}

== Литература ==
{{refbegin|30em}}
* Stanislavski, Konstantin. 1936. ''[[An Actor Prepares]]''. London: Methuen, 1988. {{ISBN|0-413-46190-4}}.
* Stanislavski, Konstantin. 1938. ''An Actor's Work: A Student's Diary''. Trans. and ed. Jean Benedetti. London and New York: Routledge, 2008. {{ISBN|0-415-42223-X}}.
* Stanislavski, Konstantin. 1950. ''Stanislavsky on the Art of the Stage''. Trans. David Magarshack. London: Faber, 2002. {{ISBN|0-571-08172-X}}.
* Stanislavski, Konstantin. 1957. ''An Actor's Work on a Role''. Trans. and ed. Jean Benedetti. London and New York: Routledge, 2010. {{ISBN|0-415-46129-4}}.
* Stanislavski, Konstantin. 1961. ''Creating a Role.'' Trans. Elizabeth Reynolds Hapgood. London: Mentor, 1968. {{ISBN|0-450-00166-0}}.
* Stanislavski, Konstantin. 1963. ''An Actor's Handbook: An Alphabetical Arrangement of Concise Statements on Aspects of Acting.'' Ed. and trans. Elizabeth Reynolds Hapgood. London: Methuen, 1990. {{ISBN|0-413-63080-3}}.
* Stanislavski, Konstantin. 1968. ''Stanislavski's Legacy: A Collection of Comments on a Variety of Aspects of an Actor's Art and Life.'' Ed. and trans. Elizabeth Reynolds Hapgood. Revised and expanded edition. London: Methuen, 1981. {{ISBN|0-413-47770-3}}.
* Stanislavski, Constantin, and Pavel Rumyantsev. 1975. ''Stanislavski on Opera.'' Trans. Elizabeth Reynolds Hapgood. London: Routledge, 1998. {{ISBN|0-87830-552-1}}.
* Allen, David. 2000. ''Performing Chekhov''. London: Routledge. {{ISBN|978-0-415-18935-4}}.
* Bablet, Denis. 1962. ''The Theatre of Edward Gordon Craig.'' Trans. Daphne Woodward. London: Methuen, 1981. {{ISBN|978-0-413-47880-1}}.
* Banham, Martin, ed. 1998. ''The Cambridge Guide to Theatre.'' Cambridge: Cambridge UP. {{ISBN|0-521-43437-8}}.
* Benedetti, Jean. 1989. ''Stanislavski: An Introduction''. Revised edition. Original edition published in 1982. London: Methuen. {{ISBN|0-413-50030-6}}.
* Benedetti, Jean. 1998. ''Stanislavski and the Actor''. London: Methuen. {{ISBN|0-413-71160-9}}.
* Benedetti, Jean. 1999a. ''Stanislavski: His Life and Art''. Revised edition. Original edition published in 1988. London: Methuen. {{ISBN|0-413-52520-1}}.
* Benedetti, Jean. 1999b. "Stanislavsky and the Moscow Art Theatre, 1898–1938". In Leach and Borovsky (1999, 254–277).
* Benedetti, Jean. 2005. ''The Art of the Actor: The Essential History of Acting, From Classical Times to the Present Day.'' London: Methuen. {{ISBN|0-413-77336-1}}.
* Benedetti, Jean. 2008a. Foreword. In Stanislavski (1938, xv–xxii).
* Benedetti, Jean. 2008b. "Stanislavski on Stage". In Dacre and Fryer (2008, 6–9).
* Botting, Gary. 1972. ''The Theatre of Protest in America'' (Edmonton, Harden House, 1972), Introduction.
* Braun, Edward. 1982. "Stanislavsky and [[Anton Chekhov|Chekhov]]". ''The Director and the Stage: From Naturalism to Grotowski''. London: Methuen. {{ISBN|0-413-46300-1}}. p.&nbsp;59–76.
* Braun, Edward. 1988. Introduction. In ''Plays: 1''. By [[Maxim Gorky]]. Methuen World Classics ser. London: Methuen. xv–xxxii. {{ISBN|0-413-18110-3}}.
* Braun, Edward. 1995. ''Meyerhold: A Revolution in Theatre.'' Rev. 2nd ed. London: Methuen. {{ISBN|0-413-72730-0}}.
* Carnicke, Sharon M. 1998. ''Stanislavsky in Focus''. Russian Theatre Archive Ser. London: Harwood Academic Publishers. {{ISBN|90-5755-070-9}}.
* Carnicke, Sharon M. 2000. "Stanislavsky's System: Pathways for the Actor". In Hodge (2000, 11–36).
* Clark, Katerina ''et al.'', ed. 2007. ''Soviet Culture and Power: A History in Documents, 1917–1953.'' Annals of Communism ser. New Haven: Yale UP. {{ISBN|0-300-10646-7}}.
* Counsell, Colin. 1996. ''Signs of Performance: An Introduction to Twentieth-Century Theatre.'' London and New York: Routledge. {{ISBN|0-415-10643-5}}.
* Dacre, Kathy, and Paul Fryer, eds. 2008. ''Stanislavski on Stage.'' Sidcup, Kent: Stanislavski Centre Rose Bruford College. {{ISBN|1-903454-01-8}}.
* Gauss, Rebecca B. 1999. ''Lear's Daughters: The Studios of the Moscow Art Theatre 1905–1927''. American University Studies ser. 26 Theatre Arts, vol. 29. New York: Peter Lang. {{ISBN|0-8204-4155-4}}.
* Golub, Spencer. 1998a. "Stanislavsky, Konstantin (Sergeevich)". In Banham (1998, 1032–1033).
* Golub, Spencer. 1998b. "Shchepkin, Mikhail (Semyonovich)". In Banham (1998, 985–986).
* Gordon, Marc. 2000. "Salvaging Strasberg at the Fin de Siècle". In Krasner (2000, 43–60).
* Gordon, Robert. 2006. ''The Purpose of Playing: Modern Acting Theories in Perspective.'' Ann Arbor: U of Michigan P. {{ISBN|0-472-06887-3}}.
* Hodge, Alison, ed. 2000. ''Twentieth-Century Actor Training''. London and New York: Routledge. {{ISBN|0-415-19452-0}}.
* Houghton, Norris. 1973. "Russian Theatre in the 20th Century". ''The Drama Review'' 17.1 (T-57, March): 5–13.
* Innes, Christopher, ed. 2000. ''A Sourcebook on Naturalist Theatre''. London and New York: Routledge. {{ISBN|0-415-15229-1}}.
* Krasner, David, ed. 2000. ''Method Acting Reconsidered: Theory, Practice, Future.'' New York: St. Martin's P. {{ISBN|978-0-312-22309-0}}.
* Leach, Robert. 1989. ''Vsevolod Meyerhold''. Directors in perspective ser. Cambridge: Cambridge UP. {{ISBN|0-521-31843-2}}.
* Leach, Robert. 2004. ''Makers of Modern Theatre: An Introduction''. London: Routledge. {{ISBN|0-415-31241-8}}.
* Leach, Robert, and Victor Borovsky, eds. 1999. ''A History of Russian Theatre.'' Cambridge: Cambridge UP. {{ISBN|0-521-43220-0}}.
* [[David Magarshack|Magarshack, David]]. 1950. ''Stanislavsky: A Life.'' London and Boston: Faber, 1986. {{ISBN|0-571-13791-1}}.
* [[Pavel Markov|Markov, Pavel Aleksandrovich]]. 1934. ''The First Studio: Sullerzhitsky-Vackhtangov-Tchekhov.'' Trans. Mark Schmidt. New York: Group Theatre.
* [[Vsevolod Meyerhold|Meyerhold, Vsevolod]]. 1991. ''Meyerhold on Theatre''. Ed. and trans. Edward Braun. Revised edition. London: Methuen. {{ISBN|0-413-38790-9}}.
* Milling, Jane, and Graham Ley. 2001. ''Modern Theories of Performance: From Stanislavski to Boal''. Basingstoke, Hampshire and New York: Palgrave. {{ISBN|0-333-77542-2}}.
* Poliakova, Elena I[vanovna]. 1982. ''Stanislavsky''. Trans. Liv Tudge. Moscow: Progress. . Trans. of ''Stanislavskii''. Moscow: Iskusstvo, 1977.
* [[Théodule-Armand Ribot|Ribot, Théodule-Armand]]. 2006. ''The Diseases of the Will.'' Trans. Merwin-Marie Snell. London: Kessinger Publishing's Legacy Reprints. {{ISBN|1-4254-8998-2}}. Online edition available.
* Ribot, Théodule-Armand. 2007. ''Diseases of Memory: An Essay in the Positive Psychology.'' London: Kessinger Publishing's Legacy Reprints. {{ISBN|1-4325-1164-5}}. Online edition available.
* Roach, Joseph R. 1985. ''The Player's Passion: Studies in the Science of Acting''. Theater:Theory/Text/Performance Ser. Ann Arbor: U of Michigan P. {{ISBN|0-472-08244-2}}.
* Rudnitsky, Konstantin. 1981. ''Meyerhold the Director.'' Trans. George Petrov. Ed. Sydney Schultze. Revised translation of ''Rezhisser Meierkhol'd''. Moscow: Academy of Sciences, 1969. {{ISBN|0-88233-313-5}}.
* Rudnitsky, Konstantin. 1988. ''Russian and Soviet Theatre: Tradition and the Avant-Garde''. Trans. Roxane Permar. Ed. Lesley Milne. London: Thames and Hudson. Rpt. as ''Russian and Soviet Theater, 1905–1932''. New York: Abrams. {{ISBN|0-500-28195-5}}.
* Schuler, Catherine A. 1996. ''Women in Russian Theatre: The Actress in the Silver Age.'' London and New York: Routledge. {{ISBN|0-415-11105-6}}.
* Taxidou, Olga. 1998. ''The Mask: A Periodical Performance by Edward Gordon Craig''. Contemporary Theatre Studies ser. volume 30. Amsterdam: Harwood Academic Publishers. {{ISBN|978-90-5755-046-1}}.
* Toporkov, Vasily Osipovich. 2001. ''Stanislavski in Rehearsal: The Final Years.'' Trans. Jean Benedetti. London: Methuen. {{ISBN|0-413-75720-X}}.
* Whyman, Rose. 2008. ''The Stanislavsky System of Acting: Legacy and Influence in Modern Performance.'' Cambridge: Cambridge UP. {{ISBN|978-0-521-88696-3}}.
* Worrall, Nick. 1996. ''The Moscow Art Theatre.'' Theatre Production Studies ser. London and NY: Routledge. {{ISBN|0-415-05598-9}}.
{{refend}}


== Спољашње везе ==
== Спољашње везе ==
{{портал|Биографија}}
{{портал|Биографија}}
{{Commonscat|Constantin Stanislavski}}
{{Commons category|Constantin Stanislavski|Konstantin Stanislavski}}
* [http://ruskarec.ru/arts/2013/01/17/mesto_gde_je_rodjen_sistem_19449.html Место где је рођен Систем Станиславског]
* [http://ruskarec.ru/arts/2013/01/17/mesto_gde_je_rodjen_sistem_19449.html Место где је рођен Систем Станиславског]
* [http://theatrefutures.org.uk/stanislavski-centre/ The Stanislavski Centre] at the [[Rose Bruford College]]

* [https://www.routledgeperformancearchive.com/browse/practitioners/stanislavski-konstantin Routledge Performance Archive: Stanislavski]
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{{DEFAULTSORT:Станиславски, Константин Сергејевич}}
* {{PM20|FID=pe/016972}}


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{{Authority control}}

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{{DEFAULTSORT:Станиславски, Константин Сергејевич}}


[[Категорија:Рођени 1863.]]
[[Категорија:Рођени 1863.]]

Верзија на датум 3. април 2021. у 21:20

Константин Станиславски
Константин Станиславски
Пуно имеКонстантин Сергејевич Станиславски
Датум рођења(1863-01-05)5. јануар 1863.
Место рођењаМосква,  Руска Империја
Датум смрти7. август 1938.(1938-08-07) (75 год.)
Место смртиМосква,  Савез Совјетских Социјалистичких Република

Константин Сергејевич Станиславски (рус. Константин Сергеевич Станиславский; Москва, 5. јануар 1863 — Москва, 7. август 1938) је био руски позоришни глумац, театролог и режисер.[1] Он је оснивач Художественог театра у Москви 1898. и уметнички руководилац и идеолог тог позоришта до краја живота 1938. Као велики позоришни иноватор имао је значајан утицај на савременике. He was widely recognized as an outstanding character actor and the many productions that he directed garnered him a reputation as one of the leading theatre directors of his generation.[2] His principal fame and influence, however, rests on his 'system' of actor training, preparation, and rehearsal technique.[3]

Stanislavski (his stage name) performed and directed as an amateur until the age of 33, when he co-founded the world-famous Moscow Art Theatre (MAT) company with Vladimir Nemirovich-Danchenko, following a legendary 18-hour discussion.[4] Its influential tours of Europe (1906) and the US (1923–24) and its landmark productions of The Seagull (1898) and Hamlet (1911–12) established his reputation and opened new possibilities for the art of the theatre.[5] By means of the MAT, Stanislavski was instrumental in promoting the new Russian drama of his day—principally the work of Anton Chekhov, Maxim Gorky, and Mikhail Bulgakov—to audiences in Moscow and around the world; he also staged acclaimed productions of a wide range of classical Russian and European plays.[6]

He collaborated with the director and designer Edward Gordon Craig and was formative in the development of several other major practitioners, including Vsevolod Meyerhold (whom Stanislavski considered his "sole heir in the theatre"), Yevgeny Vakhtangov, and Michael Chekhov.[7] At the MAT's 30-year anniversary celebrations in 1928, a massive heart attack on-stage put an end to his acting career (though he waited until the curtain fell before seeking medical assistance).[8] He continued to direct, teach, and write about acting until his death a few weeks before the publication of the first volume of his life's great work, the acting manual An Actor's Work (1938).[9] He was awarded the Order of the Red Banner and the Order of Lenin and was the first to be granted the title of People's Artist of the USSR.[10]

Биографија

Родио се у Москви као Константин Сергејевич Алексејев, у једној од богатијих породица у Русији. Први пут глуми у позоришту са седам година. Изабрао је уметничко име Станиславски на почетку каријере (вероватно да би сачувао репутацију своје породице).

Године 1888., Станиславски је основао Друштво уметности и књижевности при Малом Театру, где је стекао искуство о естетици и сценском наступу.

Године 1897, је био један од суоснивача Московског театра уметности (МТУ) заједно са Владимиром Немировичем-Даченком. Једна од првих продукција била је Чеховљев Галеб. У МТУ је Станиславски почео да развија, заснован на традицији реализма Александра Пушкина, свој чувени „Систем” (који се понекад погрешно назива и метод). Систем Станиславски се фокусира на развој реалних карактера на сцени. Глумци се саветују да користе „емоционалну меморију” да би на природан начин приказали емоције лика кога глуме. Да би ово постигли, глумци треба да се сете момента из сопственог живота када су осећали тражену емоцију, и да је поново проживе у својој улози да би глума изгледала реалније.

Велики број данашњих глумаца како у позоришту, тако и на телевизији и филму, дугују много систему Станиславског. Коришћењем Система, глумац дубоко анализира мотивације улоге коју игра. Глумац мора да пронађе „циљ” за сваку појединачну сцену, као и „супер циљ”, за целу представу.

Један начин да би ово постигло је коришћење Станиславсковљевог „магичног ако”.[11] Глумци морају стално да себи постављају питања. На пример, једно од првих питања које морају себи да поставе је „Шта би било када бих се ја нашао у истој ситуацији као и особа коју глумим?”

Станиславски је такође имао значајан утицај на модерну оперу и појачао је рад писаца као што су Максим Горки и Антон Чехов.

Станиславски је преживео и Руску револуцију 1905 и руску револуцију 1917. Наводно је Лењин интервенисао да би га заштитио. 1918. Станиславски оснива први студио као школу за младе глумце и пише неколико важнијих дела.

Референце

  1. ^ Stanislavski's first name is also transliterated as "Constantin", while his surname is also transliterated as "Stanislavsky" and "Stanislavskii". As discussed below, "Stanislavski" is a stage name.
  2. ^ Benedetti (1999b, 254), Carnicke (2000, 12), Leach (2004, 14), and Milling and Ley (2001, 1).
  3. ^ Carnicke (2000, 16), Golub (1998a, 1032), and Milling and Ley (2001, 1). Stanislavski began developing a 'grammar' of acting in 1906; his initial choice to call it his System struck him as too dogmatic, so he wrote it as his 'system' (without the capital letter and in inverted commas) to indicate the provisional nature of the results of his investigations—modern scholarship and the standard edition of Stanislavski's works follow that practice; see Benedetti (1999a, 169), Gauss (1999, 3–4), Milling and Ley (2001, 1), and Stanislavski (1938) and (1957).
  4. ^ Benedetti (1999a, 59), Braun (1982, 59), Carnicke (2000, 11–12), and Worrall (1996, 43).
  5. ^ Benedetti (1999a, 165), Carnicke (2000, 12), Gauss (1999, 1), Gordon (2006, 42), and Milling and Ley (2001, 13–14).
  6. ^ Carnicke (2000, 12–16, 29–33) and Gordon (2006, 42).
  7. ^ Bablet (1962, 133–158), Benedetti (1999a, 156, 188–211, 368–373), Braun (1995, 27–29), Roach (1985, 215–216), Rudnitsky (1981, 56), and Taxidou (1998, 66–69).
  8. ^ Benedetti (1999a, 317) and Magarshack (1950, 378).
  9. ^ Benedetti (1999a, 374–375) and Magarshack (1950, 404).
  10. ^ Carnicke (1998, 33), Golub (1998a, 1033), and Magarshack (1950, 385, 396).
  11. ^ „The Stanislavski System, Stanislavski Method Acting and Exercises”. Drama Classes. Приступљено 17. 1. 2019. 

Литература

  • Stanislavski, Konstantin. 1936. An Actor Prepares. London: Methuen, 1988. ISBN 0-413-46190-4.
  • Stanislavski, Konstantin. 1938. An Actor's Work: A Student's Diary. Trans. and ed. Jean Benedetti. London and New York: Routledge, 2008. ISBN 0-415-42223-X.
  • Stanislavski, Konstantin. 1950. Stanislavsky on the Art of the Stage. Trans. David Magarshack. London: Faber, 2002. ISBN 0-571-08172-X.
  • Stanislavski, Konstantin. 1957. An Actor's Work on a Role. Trans. and ed. Jean Benedetti. London and New York: Routledge, 2010. ISBN 0-415-46129-4.
  • Stanislavski, Konstantin. 1961. Creating a Role. Trans. Elizabeth Reynolds Hapgood. London: Mentor, 1968. ISBN 0-450-00166-0.
  • Stanislavski, Konstantin. 1963. An Actor's Handbook: An Alphabetical Arrangement of Concise Statements on Aspects of Acting. Ed. and trans. Elizabeth Reynolds Hapgood. London: Methuen, 1990. ISBN 0-413-63080-3.
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Спољашње везе

Konstantin Stanislavski на Викимедијиној остави.
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