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ŚMIERĆ W (JEGO) ŻYCIU W SZTUCE (Z BIOGRAFII STANISŁAWSKIEGO I DOŚWIADCZENIA SZKOŁY TWÓRCY GRAMATYKI SZTUKI DRAMATYCZNEJ)

100%
Zaorska M.
Acta Neophilologica
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2013
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vol. XV/1
361-372
EN
The leading theme of the author’s considerations is the motif of death found in the biography of Stanislavski’s and its role in the process of rearing of the actor. In the text a range of acting exercises based on students’ emotional memory have been named. Students’ autobiographical memories and testimony of death bequeathed on the cards of world literature play a key role in acting tasks. In the final part of the article the author mentions the etude about death prepared by the students of the Acting Studio named after Aleksander Sewruk of the Stefan Jaracz State Theatre in Olsztyn.
2

МУЗИЧНА ПАМ’ЯТЬ ТА ШЛЯХИ ЇЇ ВДОСКОНАЛЕННЯ

72%
Матвійчук К.
Педагогічні науки: теорія, історія, інноваційні технології
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2015
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issue 9(53)
341-348
EN
Memory is a mental process that reflects human experience through memorizing, storage and subsequent reproduction of information received. It is one of the necessary conditions for harmonious mental development of a person, with the new data layers based on previous experience gained and recorded before. Memory takes an important part in the formation of identical personality is awareness of its unity and integrity, and the person acquires competence that is required for the activity. Depending on the analyzer, which prevails in the operation of memory, we allocated motor, visual, auditory, emotional and other types of memory. Music identification is required on conscious perception of music. The high level of musical ear is a prerequisite musical memory. While music is an important use of motor, visual and verbal-logical memory. Visual perception is the result of highly developed inner ear, thus there is a musical interpretation of the text through the auditory sense and transformation in visual and auditory perception. Visual perception is predominant in the perception of the professional musician. Visual memory is directly related with imagination and promotes relative facilitation of memorization, storage and playback. Emotional memory is the so-called “memory of sensations”. The peculiarity of this type of memory in the ability to memorize and reproduce experienced feelings and sensations. With emotion we regulate the relationship with the environment. The mechanism of emotional memory consists of signals sent or restrained from actions that had past negative. Emotional memory is quite strong, and durable. The image memory – memorizing, identification and playback of images of the previously unseen objects and phenomena based on associative thinking associated with early lessons learned at level with similar fragments of other music. Analysis helps in the knowledge subtleties of the work. When using shaped memory there are used random associations that are not always associated with music. Auditory memory – remembering a great level followed by an exact reproduction of music or speech sounds. Among the varieties of language memory there are verbal and logical, which is a synthesis of speech, thought and logic.The choice of methods of memorization depends on the individual artist and the kind of musical memory that requires training.
3
Content available remote

Methodological approaches in the research of emotional memory

72%
Skalníková P., Juríčková V., Plechatá A., Fajnerová I., Nekovářová T.
Československá psychologie (Czechoslovak Psychology)
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2022
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vol. 66
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issue 4
349-364
EN
Emotion has an essential effect on various cognitive processes in humans including attention, perception, learning, and memory. Long-term memories are affected not only by the emotion experienced during learning but also by the emotional state during retrieval. The term “emotional memory” is often associated with episodic memory and mental time-travel; however, emotion influences every aspect of memory (e.g., both declarative memory and non-declarative memory). Here the authors discuss the methodological advantages and limitations across the current methods in emotional memory research. Traditional neuropsychological methods use emotionally arousing stimuli; however, such stimuli are often reduced to a simple list of words or pictures. In comparison to these methods, virtual reality (VR) is a relatively new tool, but with growing importance in neuroscience research and clinical practice. VR allows to study human behavior, cognitive functions, and brain activity in ecologically valid situations even under laboratory conditions. Future directions and potential use of virtual reality in emotional memory testing are discussed.
CS
Emoce mají zásadní vliv na různé kognitivní procesy u lidí, včetně pozornosti, vnímání, uče-ní a paměti. Dlouhodobé vzpomínky jsou ovliv-něny nejen emocemi prožitými při jejich učení, ale také emočním stavem při jejich vybavová-ní. Termín „emoční paměť“ je často spojován s epizodickou pamětí a s mentálním cestováním v čase, emoce však ovlivňují každý aspekt paměti (např. jak deklarativní paměť, tak nedeklarativ-ní paměť). V této přehledové studii autoři dis-kutují metodologické výhody a omezení napříč současnými metodami výzkumu emoční paměti. Tradiční neuropsychologické metody využívají podněty vzbuzující emoce; takové podněty se však často redukují na jednoduchý seznam slov nebo obrázků. Ve srovnání s těmito metodami je virtuální realita (VR) relativně novým nástro-jem s rostoucím významem v neurovědním vý-zkumu a klinické praxi. VR umožňuje studovat lidské chování, kognitivní funkce a mozkovou aktivitu v ekologicky validních situacích i v la-boratorních podmínkách. Ve studii jsou shrnuty budoucí cíle a potenciální využití virtuální reali-ty při testování emoční paměti.
4
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Systém a metody: některé aspekty přenosu Stanislavského systému do Spojených států

58%
Hančil J.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2023
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vol. 26
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issue 2
30-58
EN
This paper focuses on bringing of the Stanislavsky system to the United States by emigrants, who belonged to various troupes, in three different waves of emigration, as well as on the work of the first generation of American teachers of acting inspired by the practices that the aforementioned emigrants passed on to American students in the first half of the 20th century. In this study, the author summarises both well-known facts (such as the work of the American Laboratory Theatre and Group Theatre) and lesser-known paths of transmission through the acting studios or schools founded and owned by individual educators. The article stresses the influence of Vakhtangov, especially the late phase of his theatre research, and points out to the main problem with the American tradition of the reception of Stanislavsky's teachings, that is the emphasis on the use of emotional memory, which was mainly promoted by Lee Strasberg as a specific kind of exercise.
CS
Studie se zaměřuje na přenesení Stanislavského systému do Spojených států prostřednictvím emigrantů z různých souborů a tří emigračních vln a na působení první generace amerických hereckých pedagogů inspirovaných postupy, které emigranti v první polovině 20. století americkým studentům předávali. Autor ve studii shrnuje jak fakta, která jsou dobře známa (například působení American Laboratory Theatre či Group Theatre), tak méně známé linie přenosu formou působení jednotlivých pedagogů, kteří zakládali vlastní herecká studia či školy. Akcentuje vliv Vachtangova, především pozdní fáze jeho divadelních výzkumů, a hlavní problematický moment americké tradice v linii Stanislavského, a sice důraz na užívání emocionální paměti, kterou jako zvláštní druh cvičení prosazoval hlavně Lee Strasberg.
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