My friend has some holiday drama hw search bakground research for---

Question:bakground research for--- theorists,brecht, stanislavski, grotowski artaud

can anyone help?

Best Answer - Chosen by Asker: bakground research for--- theorists,brecht, stanislavski, grotowski artaud

can anyone help?

Your friend should look all these up on google, they have heaps of websites on them.

But i'll give you some info anyway that I found..

Stanislavski System...

Stanislavski's 'system' focused on the development of artistic truth onstage by teaching actors to "live the part" during performance. Despite being primarily known in The United States for Realism, Stanislavski developed the system to be applied to all forms of theater, directing and producing melodrama, vaudeville, opera, etc. In order to create an ensemble of actors all working together as an artistic unit, he began organizing a series of studios in which young actors were trained in his system. At the First Studio of MAT, actors were instructed to use their own memories in order to naturally express emotions. Stanislavski soon observed that some of the actors using or abusing Emotional Memory were given to hysteria. Although he never disavowed Emotional Memory as an essential tool in the actor's kit, he began searching for less draining ways of accessing emotion, eventually emphasizing the actor's use of imagination and belief in the given circumstances of the text rather than her/his private and often painful memories.

Stanislavski's 'system' is a systematic approach to training actors. This system is at some point different from but not a rejection of what he states earlier in affective memory. At the beginning, Stanislavski proposed that actors study and experience subjective emotions and feelings and manifest them to audiences by physical and vocal means - Theatre language. While his System focused on creating truthful emotions and then embodying these, he later worked on The Method of Physical Actions. This was developed at the Opera Dramatic Studio from the early 30s, and worked like Emotion Memory in reverse. The focus was on the physical actions inspiring truthful emotion, and involved improvisation and discussion. The focus remained on reaching the subconscious through the conscious.

Stanislavski survived the Russian Revolution of 1905 and the Russian Revolution of 1917, with Lenin apparently intervening to protect him. In 1918, Stanislavski established the First Studio as a school for young actors and wrote several works: those available in English translation include: An Actor Prepares, Building a Character, Creating a Role, and the autobiography My Life in Art.

Stanislavski always thought of his system as if it were a table of contents for a large book which dealt with all aspects of acting. His final work, now known as The Method of Physical Actions (see Stanislavski's 'system') , is in no way a rejection of his early interest in sense and affective memory. At no time did he ever reject the notion of emotion memory; he simply found other means of accessing emotion, among them the absolute belief in given circumstances; the exercise of the imagination; and the use of physical action.

Brecht...

Well Bertolt Brecht was a ..like a producer of Epic Theatre..so here's some info on Epic Theatre..

Epic theatre is a theatre movement arising in the early to mid-20th century, inextricably linked to the German playwright Bertolt Brecht. Though many of the concepts involved in epic theatre had been around for years, even centuries, Brecht unified them, developed the style, and popularised it. It is sometimes referred to as Brechtian acting, although its principles apply equally to the writing and production of plays. "Its qualities of clear description and reporting and its use of choruses and projections as a means of commentary earned it the name 'epic'."[1] Brecht later favoured the term dialectical theatre, to emphasize the element of argument and discussion.

Goals of Epic theatre
Epic theatre assumes that the purpose of a play, more than entertainment or the imitation of reality, is to present ideas and invites the audience to make judgments on them. Characters are not intended to mimic real people, but to represent opposing sides of an argument, archetypes, or stereotypes. The audience should always be aware that it is watching a play, and should remain at an emotional distance from the action; Brecht described this ideal as the Verfremdungseffekt — variously translated as "alienation effect", "Defamiliarization effect", or "estrangement effect". It is the opposite of the suspension of disbelief: "It is most important that one of the main features of the ordinary theatre should be excluded from [epic theatre]: the engendering of illusion.

This was largely a reaction against other popular forms of theatre, particularly the realistic drama pioneered by Konstantin Stanislavski. Like Stanislavski, Brecht disliked the shallow spectacle, manipulative plots, and heightened emotion of melodrama; but where Stanislavski attempted to mirror real human behaviour through the techniques of his Stanislavski System, and to immerse the audience totally into the world of the play, Brecht saw this as another form of escapism. The social/political focus of epic theatre was also a departure from the radical theories of Antonin Artaud, who sought to affect audiences on an entirely non-rational level.

Techniques
Common production techniques in epic theatre include simplified, non-realistic set designs and announcements or visual captions that interrupt and summarize the action. Brecht used comedy to distance his audiences from emotional or serious events and was heavily influenced by musicals and fairground performers, putting music and song in his plays. Acting in epic theatre requires actors to play characters believably without convincing either the audience or themselves that they are truly the characters. Actors often address the audience directly out of character ("breaking the fourth wall") and play multiple roles. Brecht thought it was important that the choices the characters made were explicit, and tried to develop a style of acting wherein it was evident that the characters were choosing one action over another. For example, a character could say, "I could have stayed at home, but instead I went to the shops."

Now...you may like to get your friend to find some more information on google..just type in the words and pages will come up on all there theories and the person themself..

I hope this helped..

Xx

All three are theatre revolutionarys who have changed the relationship between actor and audience. They challenged the audience not to accept what they see. They broke the 4th wall.