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Stanislavsky and the Ethos of Acting

1983; Johns Hopkins University Press; Volume: 35; Issue: 1 Linguagem: Inglês

10.2307/3206699

1086-332X

W. B. Worthen,

Diversity and Impact of Dance

As a theorist of the stage, Stanislavsky has pervasively influenced the modern theatre. We can see Stanislavsky influencing the Group Theatre and Actors' Studio productions (and their offspring on the American stage, in film, and television), as well as providing a point of departure for students like Vakhtangov and Michael Chekhov, and defining a guiding antithesis for Meyerhold, Brecht, and perhaps Artaud. Even Jerzy Grotowski, who dispenses with many of the performance goals of Stanislavskian naturalism, finds himself constantly returning to problems first phrased by the Russian master.' Stanislavsky's effect on the modern theatre stems less from his stylistic innovations than from his systematic exploration of acting. Like Diderot and others before him, Stanislavsky centers his investigation of acting on the problematic tension between the actor and his role. But Stanislavsky rephrases the paradox of acting with a keenly modern resonance. By requiring the