Directorial Research

When Stanislavasky was devising a mise-en-scene for Chekhov’s The Seagull, he isolated himself in a tower in the Ukraine for a month. The isolation aimed to discover how a theatre production might convey the meaning, however, it turned out working alone triggered dictatorship and solipsism(the theory that the self is all that can be known to exist).

Theatre undergoes a ‘notoriously collaborative‘ process. It’s not only a director who influences the play, but everybody – actors, producers, staffs and designers – who contributes to a production’s growth.

In that sense, theatre is a melting pot. Director’s role is not to devise every sing aspect by him/herself, but to incorporate all different ideas.

To cut to the chase, Today I will be introducing two directorial figures who led the century of the director, Konstantin Stanislavasky and Bertold Brecht.

Konstantin Stanislavasky

“The main factor in any form of creativeness is the life of a human spirit, that of the actor and his part, their joint feelings and subconscious creation”

3 Core Elemets To Stanislavasky’s Method

As actors flip through the script, they should be looking for the following identifying factors.

  1. Objective: What does the character want?
  2. Obstacle: What is preventing the character from getting it?
  3. Method: How does the character accomplish the objectives?

By discovering the 3 elements,  actors are able to figure out where their attention should be when they are playing. (Circle of tension) This suggests that no line is random.


Bertolt Brecht

“We need a type of theatre which not only releases the feelings, insights and impulses possible within the particular historical field of human relations in which the action takes place, but employs and encourages those thoughts and feelings which help transform the field itself”

Born in German, Brecht played a pivotal role in developing modern theatre and epic theatre.While Stanislavaski focused on empathizing, feelings and the heart, Bertolt Brecht work placed an emphasis on distance, thinking an reason.

Anti-illusion
  • How Brecht’s anti-illusionary approach influenced the audience?

The alienation effect: also called deformation or the Verfremdungseffekt effect.  Brecht’s production encourage the audience’s emotional involvement in a play. However, Brecht denied the concept of ‘suspension of disbelief’. Rather, he wanted the audience to stand away from the play and make a judgement on the events, while recognizing that they were watching a ‘fiction’.

  • How his his anti-illusionary approach influenced the actors?

The actors were told to demonstrate the story of characters, instead of becoming a role.


Works cited

  1. Great Directors At Work – David Richard Jones
  2. http://www.slideshare.net/garethhil/bertolt-brecht-workshop
  3. http://theatrestyles.blogspot.kr/2014_11_01_archive.html

 

 

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