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IMMORTALITY OF ACTORS

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Kret A.

Slovenské divadlo (Slovak Theatre)

2008

vol. 56

issue 1

58-62

70 years will lapse this year since Constantin Sergeyevich Stanislavski (1863-1938) died. He lived more than 70 years out of which almost forty years he was a personality known over all Russia and later also worldwide. Stanislavski really stirred the theatrical world. At least he succeeded in codifying and upgrading dramatic art into a specific stage creation. Actors before Stanislavski from great European houses of the end of 19th century and also those performing alongside with him across all Moscow and elsewhere, were not worse than those directly with Stanislavski, but even in first staging of the Moscow Artistic Theatre an obvious effort in conveying - not by civilization of performance even though it had been crucial too - was noticeable, but above all the effort in true empirical expression of the psychic status of pictured character. It could be named as copying, photographing, mechanical imitation - but it was all about the inner world of the character, about the status and impulse. The author then explores how Slovak theatrical culture has reflected Stanislavski's work, and deliberates on why up to this day a relevant professional reaction does not exist, or an attempt in interpretation or application of his theoretical work and also a practical dramatic school.

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1 Slovenské divadlo (Slovak Theatre)

1 2008

1 Kret A.

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IMMORTALITY OF ACTORS