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SZÍNÉSZKÉPZÉS MÁSKÉPP! - THEATRE AND DEATH
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 The human emotion, the act created the emotions arising from conflict situations should be presented, as manifested in real life.
This applies to the smallest of the heroic and spiritual expression, elemental force of passion to break the surface, both feelings.
Deceive the public, if we try to beautify the horrors that occur in everyday life if we are to believe him, that life is more beautiful than it is. This obliges us to avoid the basic essence of theater, which is nothing more than the life of a
slice of the presentation.
There is no doubt that death and all the horrors associated with presentation has never been as topical as today.
The point is that these phenomena show the deterrent must be! Must be liable to elicit that kind of dissuade those from committing, or even stimulate resistance against them!
It should be remembered that, of course, that the audience have fun, relax, but you must merge the two components that both are designed to remain intact. To do this you need to find the appropriate means of artistic ...
Organisers believe that the actors first and foremost related to the death and experiencing all the ingredients to be taught! For the actor, who is due to the death and empathy can represent reality, then the expression of any human feeling would become!
In the absence of the greatest talents can be only one-armed giants ...
I know that these claims will encounter serious opposition and arouse the wrath of all those who still prefer stagnant puddles like that to start the quest for new means of expression.
Writing with my first they did not, but the emerging new generation of actors and directors I would like to target, one possible way to show them.
Surely there are other roads to which others will find ...
May God grant it be so!
Just let us have it out somewhere ...

 A CONNECTION

 

 Theatre and death.

The history of mankind, these two ancient concepts are closely linked.
So roots can be traced back to a point that is hardly possible to set up in chronological order. Because from the moment when a man stepped out of line and became aware of the animal itself - the existence of its own - had to wake up at the same time aware of death as well.
To accept, however, never knew, and did everything so that you can not by their own, but some kind of external force, a stronger power to defeat it.
So God created you, who could pray for his eternal life in some form, and if the prayer was not enough, it took me a gift or sacrifice in the context of different rites.
The birth of the theater!
Though hardly comparable to today's modern facilities crowded theater, because theater was at its best! Animals or other people's "skin" were hiding, so it played a role, and there was a pre-planned action, even if initially it was not
paper. They did this because of fear of death, to defeat or at least delaying in order to get further.
Today, we are not this different.
Over thousands of years torn apart because of religion and theater, but both are preserved in the ancient roots. The religious ceremonies are clearly marked by the theatrical features, the theater is still mystifying, as one of the most powerful and impressive element is used to death.
Increasingly fast-paced and relentless, cruel world differs only in the hundreds of years previously, that people today are no longer satisfied with the theater. Kevesli what you get from it. Does not satisfy him off the stage, radiant effect, if at all emanate from something!
Much more to him to be more to stir the soul to be a cathartic experience richer! Therefore, the film turns increasingly toward where a strong concentration of wild and transferred to the neck of what you want.
But today, no need for other viewers as they used to!
The same desire to control the man staring in horror films such as the fate of the Greek tragedy viewers. The more tragic human fate, sorrow, pain and death, of course, see that he may be laid down appalled by how cruel the world.
If you get even more if it is you wonder how all this could change, that's one indicates a higher art!
I think it is outdated and unfounded the accusation often stated that the only horror movies mentally ill, disabled people are watching!
Given the horror and thriller movies viewership of statistics, the world would be very regrettable if it were true! Of course, different people have been charged deviance look at these movies, even just watching it, but they have very different effects than healthy individuals. As with drugs, which is one man's recovery, while the other means of death. No one can seriously think that we should eliminate the drugs just because they are who cause fatal side effects!
Tadeusz Kantor's Theatre of Death in his book he writes:
"... All powerful ... I believe that the art of life is only the absence of life can be illustrated, by way of bending the word Death."
 Kantor is deeply wrong!
After all, our love is the strongest you can feel when a loved one is not for us, but the other is so easily thrown away, wasted bread is the value you can really assess the abundance and ends when we are forced to starve.
Nothing else is a matter, such that the negative effect must be logged in to make us realize how big we need the positive ...
This awakening, a spiritual revolution is missing from the deviant people!
This is the border that separates the sick from the artist!
A mentally impaired, lacking the ability to develop the negatives could be positive in themselves. Therefore, trapped in a world of negatives, so look for love and joy in them.
In contrast, the negative effects of a healthy soul become positive, increasing disgust against evil, and are stimulated into action against the horrors of the negative.
Speaks to us of the horror film created an artistic level as well as the shock theater, they want to arouse the need for change! ...
Returning to the original question, that is how close the relationship between theater and Death and the impact of the death was a sense of the theater, Tadeusz Kantor once again not to be quoted:
"The dying / death / from the Chinese and the Greeks from the entire history of the theater is surprising, dramatic, theatrical act calculated. Ultimate. Punch line! The overall success of certain assets. "
Thomas Vekerdy ​​more detailed explanation.
"Experimenting scientists also claim that the imaginary image, the idea is to transfer most, if not emotionally indifferent to us this image. This view was G.V. Reic doctor, Leningrad parapsychologist who is more tragic series of experiments under similar experimental objects suggestive of personality: people hanging rope, execution image. Only in these cases failed to provide complete and accurate telepathic communication. The percipiens detect the induction of a particular psychic experiences can expect that his whole being shaken. For the cases of spontaneous telepathy also shows that the agent or dying, or going through a strong psychological trauma ... it's the quick cuts straight to the theater. Not only the tragedy but a comedy at heart as well: a tragic szuggerál of objects. Death, even violent death ... this is the core theme.
Emotionally colored objects in response to the tragic nature of love. So much so that Shakespeare and Dostoyevsky's life, not only the aesthetic value of creative works, but the number of dead is prominent in the world literature. Just Reic doctor, they also used images of violent death - as a whole to say that the deepest layers of the subconscious is open.
Murder and suicide are common and natural in this atmosphere, as the greatest horror novels ... not afraid of kitsch. They know that the drama and the novel's eternal theme of violent death.
If you cancel the writer on this subject, you should give up, to illuminate the depths of the ultimate human destiny. "
This section does not intend either to explain or supplement.
The question however, will arise as to whether Shakespeare, Dostoyevsky, and all those who like them, frequently used in their works of death, violence, brutality and human weaknesses is presented, or their directors, who have staged - of no longer mention those who watched and applauded - and, without exception, sadists, spiritual torsos, perhaps seriously aberrant were crazy! ...
I do not think so.
Rather, it is instinctively felt the need for soul cleansing.
Similar to those millions who repeatedly got into the theater auditorium shocking, or buy and watch horror movies.

 HISTORICAL OVERVIEW

 There is no perfectly clean, without overlapping theatrical trend seen in any of the novel as well!
All great theater man who some "new" made, was forced to rely on knowledge of the ancestors, and to embrace all the elements that are good at others in the works, and which could be built.
Sometimes styles are completely contradictory to each other representatives were forced to RECEIVE something from another, because they realized it really does not work without theirs.
In my method is without its variety of styles, mixing, even if the main lines of the total experience of improvement was based on the theater.
This is why I need the historical background, because only the roots and sources of knowledge may be understood that what is really what you want to achieve ...

1st The naturalism

A truly radical program of naturalistic drama and to the point, first coined by Emile Zola's naturalism in the theater's 1881 study published in.
It has the theater of his time attacking, pointing to the flood stage lying, hypocritical, inartistic solutions of the critically low level, distorted the needs and tastes of the audience as a consequence of the possibility of regression.
On this last point, said:
"While the audience satisfied with the old characters and the subject of sketch szimplifikált dialogue with the interpretation of today's viewers want to see is the act itself, the future-cool-person act in its natural environment."
Zola described the passions inherent in the accurate, detailed analysis has set the objective of naturalism, showing the same pothole trapped in theater for a possible way out. Innovative proposals were impressed at some of his companion, and to André Antoine, who began to try out the theory stage.
The practice has expanded steadily over Zola's theory, and finally the results were a turning point in the history of European theater, because they managed to destroy the false theatricality.
Ferenc Hont A, edited by Géza Staud and the theater world history II. Antoine's oeuvre, this volume can be read:
"In particular significance was the fact that amateurs have started to fight against the traditional theater, with people who have not yet deteriorated to the routine of traditional theater. Declamation, dramatic poses and gestures used by the public rather than an actor of the instructions given to the simplest of actions, dikciókra the most natural, authentic, direct expression of themselves. The actor turned to the viewer, if the situation so wished, he scratched his head and blew his nose, as it used to in everyday life.
The text is just as casually, he said, without form, as is customary in ordinary conversation, haltingly, pausing it, and sometimes elharapva words. The actor had to play it as if it were not public, as well as the fourth stage
Wall also had the audience through a keyhole in the room, "a slice of life" to see.
The naturalness of the realism and credibility to enforce a settlement is sought. The stage is not pretty, but it had to be true. "
Antoine's reform quickly crossed the borders of France, and the naturalism set off to conquer the world. It is no exaggeration to speak of global impact, since less than half a century not only in Europe but also Asia and America had a large number of followers. A non-exhaustive to mention a few, mostly those who have seriously affected the results of psychological realism, creator of Stanislavsky's work, and through the mine ...
The XIX. Century, two great artists of the Italian theater, art, lit by Giuseppe De De Marini and Gustavo Modena.
Mariniról recorded, everyday roles that hard work, and the shapes their character, their behavior from the inside trying to fathom.
The method is essentially prevented the triumph of a century later, Stanislavsky method of harvesting ...
Modena taught his students to follow the models are not quite dead, but his own personality to be made suitable for the role of themselves in shape to be digging out the necessary emotions. Stage means were very close to shocking the theater, audience impact.
Tommaso Salvini - Modena began his career in the company.
He personally saw Stanislavsky on stage in Moscow, and for making a great impact on him. You can not really be called a naturalist, but by psychological processes in the role.
Ernesto Rossi - also was a student of Modena.
Psychological Analysis of giant became an actor, and one of those who first gave the world its theaters in the psycho logical, naturalistic acting.
Visszarion Grigorievitch Belinsky l88o of the mid-stage lay the foundations of realism, which he later realizes settlement of Stanislavsky. Belinsky a theater requires that the reality shows and social grievances.
Nikolai Gavrilovics Csernisevszkij definitely occurs when the illusionist, too beautiful painted theatrical practice against which the tragedy is still ridiculous, lecture mode, were the scene.
The need for a naturalism so characteristic of him with a hard concept expresses Also sprach: "The tragedy is what human life is horrible, we used to call it."
The Polish Kazimierz Kaminski, who has a system similar to the naturalistic Stanislavsky method developed to improve the portrayal of an actor, I was not far from what later, the Master (Stanislavsky) unit is busy.
The Romanian Aristizza Romanescu Theatre basic concepts in his study was very close to the Stanislavsky approach when fighting the French tradition preached against false text saying.
Finally, here can be divided into a group of Meiningen, Otto Brahms Berlin or Budapest Thalia Theater Company.
We all played a decisive role in the perception of youth in the development of Stanislavsky theater, they come up based on the much-talked-about method ...

 2nd Stanislavsky in brief

Konstantin Sergeyevich Stanislavsky was born in l862.
Early onset of the attraction for an initial period of art, who lived as a dilettante. To self-acquaintance with literature and theater, through studying /! / Almost all the existing styles, or have forgotten.
In 1888, a founding member of the Moscow Society of Art and Culture, under which many a decade, played a significant role.
Besides her acting talent manifests itself more and more planning is attempted, and this area has proved inadequate talent.
This time, with friends, Vladimir Ivanovich Nyemirovics Dancsenkóval, the renowned writer and drama critic.
Nyemirovics Dancsenko, who is the Philharmonic music school of dramatic time courses taught, professed similar views at the state theater.
Both are out of date, without any form of art and the mugging was stuck in the trap of Russian theater. This spiritual and intellectual identity tight commented artistic relationship.
As a result, 21 June 1897 was developed on an entirely new form of theatrical art program.
18-hour conversation at the end of such a theory is born later in the legendary Moscow Art Theatre.
Stanislavsky thus formulated the objectives of the new theater:
"Start-up program was revolutionary. Advocates around the old game the same, the theatricality of false pathos and declamation, and all kinds of mugging against the scenery organize the wrong conventions and the star system, against which destroy the band, and then theaters throughout the system and poor repertoire against. Destructive, revolutionary art to renew our commitment in the declaration of war we have all kinds of theatrical convention, no matter where it takes: the game, settlement, in scenery, costumes, the interpretation of the piece, etc.. "
The new program is looking for actors for the implementation of a precedent-Antoine - who is not infected with the practice of the theater, which wanted to fight. Therefore, graduates, students and theater and art lovers gathered around them.
These young people have been re-opened, it could shape them.
The novelty of the theatrical profession affected everything I did in the new company. Mostly unknown to the analyst tests surprised the visitors. In the way of stage rehearsals prior to the Act and the role of all the psychological aspects of pre-cleared.
The antipathy of most of the opponents has been triggered by Stanislavsky as actors on the stage moved.
Position, gestures and movements used in the most natural form, and if the situation I wanted to feel free to turn their backs to the audience. It was a great sin in the eyes of representatives of the old forms, and was convinced that it falls into the company, which he began.
Was not right. The first presentation of the Art Theatre, the 1898th October 14, called the Hermitage theater room, astonished the audience and the professional observers.
The naturalistic precision, the actors are excellent interplay of psychological and perfectly developed charting the way thanks to the Artists' Theatre has won the battle against the conservative conception. The Seagull, Chekhov's picture on a piece of theater performances put on after the curtain, and today as a symbol in the company, soared aloft.
Seven years later, in 19O5, Stanislavsky was given the name of the wings of fame, which makes 19O6 in the International Guest Artist Theatre tour started. Prague, Vienna, Berlin, and lectures were held several large German cities, the celebration of public and professional recognition of the full midst.
There are two most important works of My Life in Art's curriculum vitae, and the actor's work, entitled two-volume, professional cuisine, tips containing writing, appearance following years almost all over the world into the language translated, and the theory Stanislavsky system, as it entered the public consciousness .
The effect was to the extent that managed to survive after the October Socialist Revolution troubled times. Despite the fact that representatives of the new socialist currents obsolete, low-qualified citizens of the artist and academician Theatre, Lenin
said:
"If there is a theater, which must be saved at any cost and we must preserve the past - of course, the Artists' Theatre."
You could even have been authorized by the Soviet government in 1922 that up to 24 Americans to go on tour. The guests play the midst of endless celebration took place, and an impact on the American theater, whose traces are still being felt.
Stanislavsky in the years after the tour is almost completely retired from work in practice, theory, theater that deal because they felt the need /! / Method to expand, refine and develop.
Unfortunately, the action of his death in 1938, was interrupted.
For subsequent generations by leaving the task to carry out this work, but this is only a few have tried, and even fewer who are able to demonstrate concrete results ...

 3rd The followers

"You can keep yourself in the most ardent adherents of Stanislavsky, the master of other supporters still believe that" he is not among their "real."
Thus, Anatoly Efrosz complain, in his book Love in the trial.
Determination not without a bitter and accusatory.
The Russian theatrical life, he is considered one of the brightest, clearest Stanislavsky interpreter, but the wildest, toughest criticism of the representatives of psychological naturalism, that principle was friends.
The attacks on his person and his art so far found that the accused discredit style / me is familiar with these accusations! /, Lectures, sort of trying to overthrow, to bring scandal. His situation became so frequent
intolerable that a director, directing the main job is not only giving up the theater, but many also had to leave town.
Is accused of sin, which is the art of the highest value: they go beyond those described by the Master, who dared to tell the method errors and, even more in breach of the orthodox followers of Stanislavsky, combine dared to use elements of other styles in his opinion!
The alloy is unique in its characteristic form, have evolved over the decades which earned itself a complete self-reliance, and as a method Efroszi the theater in her story.
But at the beginning of his career would have been difficult to find Stanislavsky Efrosz fanatical believer!
One of the theoretical work thus recalls the period:
"The college also theatrical studio / amateur theater groups / we worked in the authenticity and naturalness need to talk, and that should be studied Stanislavsky test method, which helps the actor's natural behavior to create ... have read all available Stanislavsky method, and we also tried it in practice I knew by heart ... try Stanislavsky, I could tell you exactly when, where and what he said. Interested in the method of physical action, the actor analysis methods, etc, etc So this is totally spent, I tried to understand in theory and practice. "
Over time, they felt not fully adhere to that described by Stanislavsky, not simply to replicate the method, because it is a large dam to raise their own artistic development, and development of art in front of the theater.
He was not alone with this idea. More and more people - but unfortunately not enough people! - Decided to modernize the Stanislavsky method, while the renewal.
Are the most important qualitative changes have been made directors, who lived in the decades after Stanislavsky's death.
They could no longer master of charisma, he was not able to view lectures arranged so that a clearer insight into the errors .. A change in age, other social and political conditions, worked in other theatrical artistic production had to meet the demand.
Some examples of the direction in which attempts were made to the limitations of psychological naturalism widening in recent decades, theater professionals.
Elia Kazan in 1947, founded the Actors Studio, where the actor is ready to provide further opportunities for development Stanislavsky method. The method has been expanded and made more efficient with the deepening of psychoanalysis. So get to the Actor in experiencing the passionate, fiery totally in the form of a large internal mental activity. Followers were examples of how to explore the psychological laws of eljátszandó shape, and how to apply it, to use on stage ...
In 1956, Oleg Jefremov management of the Theatre Artists Studio students under an exclusive performance - a pilot - presented by Viktor Rozov's piece live forever. The unexpectedly high success encouraged them to develop new, more modern form
think Stanislavsky's teachings.
Gabor Mihalyi so their work is characterized by:
"The cast is almost completely identified with their role ... the eyes were presented before this transubstantiation ... Stanislavsky heritage to feel: the actors during rehearsals developed themselves, the sculpted shape the life history, character drawing, could and mind under tight instinct and emotion ... the performance shake , stirring ... "
Yuri Ljubimov in 1964, took over a Moscow theater Taganka management.
Worked with Stanislavsky, Meyerhold and Brecht, in his view the theory of similar parts, and special alloys, using a lot of controversial, big storms stir director has produced results ...
/ Here's the importance of roots! /
One of today's most talented, sztnyiszlavszkíji foundation built from the Polish director Grotowski, whose art is more then I want to say, as such, his work has a serious effect on me ...
It should be mentioned Piscator, Peter Brook, Pip Simons, Artaud, and Fellini, or the Hungarians, Miklós Jancsó, Paál Stephen Fisher Peter Csiszar Imre and Rust Joseph's name, who between seemingly different styles to represent a settlement and actor management solution, but clearly recognizable essential elements of the Stanislavsky system.
Of course, many highly talented Hungarian and foreign artists have been able to write the name as an example, who have a lot of theater and the Stanislavsky system development. Their names had been omitted from this chapter, the lack of space, and not because the artists are of lesser value.
Many of them act in ways that art, which have a cursory glance to have nothing to do with psychological realism, in fact, to build from, and thus working out their own individual style.
Feel free to say that they have done more to modernize method than those who are steadfast followers of the Master, as they say they are!
The latter - the hard-core, fanatical followers of Stanislavsky - Criticism and taken over without change to the system, and thus a significant psychological damage to the theater!
A spasmodic affection of the Master's described, in-depth psychological analysis of the excessive use of the stage and the constraints imposed on theatrical realism, logic, flouting tired, colorless, boring and often made the presentations.
Mainly II. Post-war followers fell into the trap of ignoring the changes, increase in age requirements. They refused to overrule the Master refused whether it is obsolete details of the different world-view audience needs to adapt, and this space allowed for experiencing the need for denial, alienation-effect working Brechtian-trend, which is across the globe, including Hungary, took over the leadership role.
Unfortunately, the bad example of the pointless, stubborn traditionalism supplied pattern exactly those who most would have been obliged to pay attention to the fact that the method can not only live longer but also further improved!
Gabor Mihalyi critical precisely characterized by brevity of the Moscow Art Theatre location.
"Theater is art of preserving their traditions are so stuck in that almost became a theater museum. Finally, only preserved fossilized forms, which is behind all life and died content ... Chekhov's three sisters tradition of respect even today it is played as it was during the Stanislavsky staged ... "
It is incomprehensible to me to Stanislavsky, founded by theater behavior and consistent adherence to the wrong road, because they have better only if you know your one of the Master's theory, which is carefully after reading this you have to understand that the Master is nothing that lasted more than the fact that methods of fossilized become outdated dogma!
"This method, not the law" - writes in one place, and away sides continues:
"The system can not cook! Not so with that: this food and this is what I need to look in the index, look up the page and move on.
It's a whole culture! For years, educators must act within range. "
Still others have more specific terms:
"The system - the road to guide the creation, not an end in itself!"
How much this meant, how much is not averse to anything new from the test - even if it was completely the opposite of psychological theater! - Proof of Meyerhold case.
Famous in his autobiography mentions how it has affected 19O5 in the breeze of secession, when he met with a former student, Vsevolod Emlijevics Mejerholddal, was a member of the Artists' Theatre, who had already visited the new roads, new methods tried.
Meyerhold financial reasons could not be achieved in practice, theory, and therefore help Stanislavsky actually a studio put at your disposal, often went to the disciples were led by the company's probes, and seriously studied the trend called for secession.
"That time I am in the theater arts are almost exclusively interested in the unreal and theatrical display of tools, forms and methods of looking for." - Writes Stanislavsky, Meyerhold and so the style is characterized by:
"The new studio that focused on the mission of a brief to the realism of life painting of date. The time has come to the unrealistic theatrical representation. Not life itself should show how the reality is, we feel it as vague
images in dreams, visions, moments of sublime inspiration. This state of mind to illustrate szcenikailag ... They will establish the general mood, which is intuitively transferred to the viewer.
They serve as a reference, which compels the viewer to create his own imagination. "
The Master was not only a theoretical understanding of this trip to the opposite field of art, but 19O8. September 3O neoromantika on the spirit of color and symbolism also took a piece of work of Maeterlinck's Blue Bird.
Although the show was highly successful and a month later - after you finish analyzing the new trend - a letter he wrote to a friend:
"We went back to the realism ... Any other way is false and dead. This was evidenced by Meyerhold. "
This was a reference to the disciples were justified in the Meyerhold-studio performances all failed.
However, it is undisputed that Stanislavsky gave him a chance - like many other trend - was willing to take time to learn and use items if found, they incorporated their own methods.
It is an artistic mentality, humility, a profound contrast with the other, which only the largest can afford.
"... The great directors, artistic uniqueness is always some kind of summation result, the theater recently discovered traditions started, and of incorporating the modern theater, an ambition to attempt of innovation that are common to a relative sense." - Says Mihaly Gabor.
This desire was missing a vast research - and is still missing! - Master of the greater part of his followers, because this method has not been able to save the obsolescence.

 4th The situation in Hungary

Examining the Hungarian theatrical art XX. Century history of the written memories - including criticism is - I was most curious about was where is the point where the derailment occurred, which is the international color line with the massive backlog
resulted.
Of course, as the Stanislavsky trend followers, the psychological side of theater I approached the question, I searched for traces of the settlement of Hungarian directors.
I have it from feeding on the deep conviction that the shape of the inner life of playing, a thorough psychological analysis of emotions, and this empathy without relying on a true work of art can not exist!
Horror, found out that the last truly Stanislavsky's method is based on lectures more than thirty years ago, Major Thomas was hallmarked by the National Theatre in!
"Major social-realist / politically forced odd pairing! Sic. / Concept for the ... was essential to have disappeared from amongst the darkness, drama, every detail to make valágossá explains. This required them to Stanislavsky's method, whose szegődtek few years ago, believing ... "- Gabor Mihalyi characterized the activities of the then National Theatre, and even more pages away its views.
"... The 1952's uncredited performance, at least in the light of the criticism, more interesting, elaborate liked. We believe in helping the consistent application of Stanislavsky's method is powerful ... The average increase is an actor's talent, especially if the game physical, expressive gestures to get effective help in devising a highly talented director. A National Theater presentation of this part and in part - this is not forgotten - in the last decades have been a great actor in Hamlet occasion talent, knowledge detection. And yet his talents are better enforced in the
Stanislavsky method of thinking about feeding, discipline, rigor in the system requirements. "
In the same topic Gabor Miklos Hamlet is shaping details.
"Hamlet was the perfect Gabor Miklos. Eventually, because he identified with the role fully. He was automatically a Hamlet that he had done anything on stage, he believed: that Hamlet ... is also able to unleash the full consciousness of itself, to unfold during the trial game and an instinctive talent. Gabor Miklos Stanislavsky disciple declares itself. "
Gábor Miklós continue to lag behind the Theatre Theory booklets third I found an interesting writing, which comes from the pen of a huge talented actor, and a typical example of the type discussed in the previous chapter efroszi claim that the Stanislavsky-believers are often serious conflicts between the contract.
"I was always opposed the minds of Stanislavsky and Majorral Gellérttel" writes, and continues: "For me, the physical action is not the expression of play, but the actor's empathy, meditation, and achieving a complete method, as well as Grotowski ...
So Hamlet was at least as relates to the teaching Stanislavsky as Monkey. In fact - this is more or less dogmatic disagreements traditions of my mind - let me stress: I think I just really connected. "
It can be concluded that the Stanislavsky method - although there were disputes in interpretation and perception - in the mid 196O's theater played a crucial role in our lives.
In the subsequent derailment occurred in the period, mainly as a result of the Hungarian National Theatre theatrical tastes management broke the psychological realism, and switched to the appropriation of Brechtian.
Since then, the method could discover only minor traces of the planet professional theater, the theater or even a series of theoretical writings attacked as obsolete, in effect the trend. The critics were defending the National Theatre style change
the decision and tried to listen deeply that the negative effects of this drama.
/ He who saw through the danger of the situation ... /
But the silence was becoming increasingly uncomfortable, especially since the only effect of alienation-employee directors were ineffective performances of the audience, especially for the connoisseur. The actors' games were worthless, and the viewers' old big 'really felt cherished memories into lasting for only themselves.
The professionals - actors and directors alike - have felt day after day, their skin the wrong way on his own the consequences of change, however, there was little opportunity.
Anyone who wanted to avoid the capital - perhaps even the Nation Within its - or did not want to leave to avoid, in the officially designated political artist had to go through. In the tense silence was enormous robannás Péter Molnár Gál 1974, he published his book Theatre of rambunctious, out of which the following quote comes from.
"We have, in recent decades - ever since we broke up, the Stanislavsky method - shortened the productions for a trial period ... I do not admire, if such a practice, while sluggish, half-finished and possible exposure to this powerful phenomenon, perishable performances are created. The inspiration for the preservation of high-quality funds do not provide good, careful work carried out during rehearsals. In-depth analysis about the role, not to mention the work done. This practice is not only because of the bad actors, arrogance, false sense of security: the organizers is to blame for it ... The Stanislavsky method, rejecting the false professionalism XIX. Century practice of using an artistic forms have been developed within the framework of which the director is unable to continue to maintain your interest, can not be exciting, creative lessons together to provide its employees. "
Tough, fair criticism of the lines they carry themselves, without the author would have been minimal too much.
Still, the book was published was not enough in itself to concrete action to promote the profession.
To this must have been a professional theaters outside of the show set up flouting taboos amateurs, new artistic creed, a new world vision and new vigor.
"Typically they are generous to literary materials management, autonomy, ambition in the theater arts, a laboratory test method for in-depth training in studio work and the actor's popularity. Not satisfied with ... a professional drama school training, the template is filled with traditional style of play by corrupted actors - they were raised for specific tasks capable actors. "Writes about them Péter Molnár Gál, and then book the rest of bold, pleasurably readable description of some of the avant-garde performance, which - unlike many critics of his colleagues! - Not ashamed to watch.
The sharp, led by Bela and Laszlo Gengeliczky Tatabánya Miner's House of Stage One's production of games, we read:
"The liberation of aggressive instincts ... something ancient in origin, in the beginning, mythical ... Find the Hungarian stage was recently seen such a beautiful example of what Stanislavsky" public solitude "called."
Similarly, words of praise led by Stephen salutes the Eastern Technical University of Budapest Szkéné named stage, Peter Fisher and Kassák House studio, the band Universitas of Szeged, Paul Stephen, and then wind up the subject draws a bold conclusion:
"If you like it or not: the amateur bands / or if you are, then their followers / in a few years the masses will attract international fame, and if you do not listen to them or do not learn with age: prior to the professional theater arts."
His prediction - however even smiled in the seventies theater professionals - partly realized.
The activity of amateurs could színművészetünkre really refreshing, and art directors are inseminated did as Joseph Rust, Gábor Székely, says Peter Asher Thomas, Flat, Ferenc Gábor Zsámbéki and many others.
The former leaders of the avant-garde groups have quite a few of the colorful life of professional theater, and although their performances are bland, their works can be found in the old forms of impact assessment refined. Avant-garde tried to salvage everything from their past in Hungary dominant theatrical practice framework.
The merit of the lack of changes in the primary cause of the brittle behavior was what the industry representatives are certified professional organizer against the avant-garde groups. The Western European and American theaters, unlike our enthusiasm is not the innovative efforts of young people, but suspicious of professional jealousy. It was not a goal that the new formal elements of art right place to raise their value, but to better isolate, block the public view.
Directors specifically studied schizophrenic behavior produced when statements of progress, revival of the theater world is talking about catching up, while their actions, thereby completely shoved the opposite direction of the Hungarian drama.
The truth is that under the circumstances is not really anything you can do. The dictatorship in which they lived, the culture have been selected for the official line from which the entire profession of expulsion without risk, there could be no derogation. So if the political leadership is not something desirable, qualified, they had a duty as such directors dog approached him.
However, the avant-garde movement, private bore all the marks are sufficiently embarrassed by the Communist leaders!
They did not know what to make of the concentrated expression of aggression, which is broadcast from these performances, and like everything that you do not understand, this is sufficiently frightened.
Not knowing what to do with the phenomenon of propaganda campaign against him during a dangerous, deviant art and socialist morality incompatible, imperial junk rated.
Then, in the spirit of the time, quickly finding is supported by the political world of the artist on duty talpnyalója some of which were lost due to a style trend that could have slowed down the refresh, ossified and gray Hungarian theater arts.
This resulted in a catastrophic backlog, which now can be detected in all reality, when the fall of the Iron Curtain no longer clog the culture, and we had a chance to unvarnished international contest ...
But the alarm in time - the mid-seventies - sounded some broad-minded, enlightened professional theater, warnings, however, because it fell on deaf ears as before Pete Molnar Gal.
Thus fell on barren soil fertility words of Gabor Mihalyi.
"Failure to comply with decades of avant-garde experiments of the outside world was interested in more than a few descriptions of the theater critic heard, the new discoveries of the Twenty-Fifth Theatre, a region in need of some amateur band director has tried to exploit.
Today, as director of the world's great personalities of the theatrical experiments of recent decades, shall summarize the results of our directors are mostly nothing to summarize, because they were still not willing to ignore the achievements of innovative avant-garde theater.
This is why more and more painful to feel the forefront of Hungarian theater, theater world to catch up. "
These lines, after nearly two decades have passed even lukewarm doing nothing, while the western half of the world's smallest details of the exploited and incorporated in new directions to use elements of the old, familiar formats include.
The blending of the developed alloys is strongly stressed the psychological effect. It is a psychological theater, which the directors exactly what time they tried to get away as much as possible.
The Hungarian theater is just drifting in the opposite direction as the world's theaters ...
Fortunately, you drift slightly slowed in the past, the avant-garde influences heavily impregnated with ideas and working with young directors, whose cracks were formed due to the deepening of the exclusive right to benefit from trends Brechtian pedestal.
Gabor Mihalyi, who dedicated numerous studies on this subject in an article he writes about them:
"Role models lie mainly in the Soviet theater, a modern interpretation of Stanislavsky, Meyerhold, a maia of Ljubimov, Tovsztonogov, Efrosz ... The sacrifice, work atmosphere of tension is felt most in Kaposvar. The tests will start at nine o'clock in the morning and late at midnight, no stopping. There is no difference between weekdays, Sundays and public holidays between. Sunday evening after the performance is self-evident natural to call another meeting Zsámbéki staff to discuss the show was at the time of trial experience. "
In such a working method, with the artistic mentality, and especially the psychological realism to class lectures so they could return to take the stage, the audience themselves attracted to such an extent that the party line of workers eventually were forced to watch there.
Strong curiosity and jealousy, of course, is awakened in them for the recalcitrant colleagues, and as a result of the early eighties, developed an interesting exercise.
Those directors who have their own theater in the Brechtian orchestrated scores of próbáikat, guests are planning to take the Stanislavsky method began working in theaters, and even avant-garde groups!
During this get-away then - actors and directors alike - thoroughly tested by the artistic tendencies, talents exploit that part, which for many years had to keep under control.
These productions of the first critics wryly, and growing enthusiasm, depending on how the weakening of the dictatorship, proved to be tolerant of cultural policy.
Enormous possibilities for those odd jobs to become one-sided directors to try new things, experiment with mixing styles, and realizes Mihályi quoted below with the words of righteousness.
"And how many other theatrical concept is possible ... the possible variations are endless. You do not have to worry about the theater loses its ability to constant innovation. "
The other big advantage is that this practice was that the styles back on tour directors were no longer the old ones.
No matter how well they tried to restrain themselves, to experience elements of avant-garde groups he hid settlement.
The guest appearances and sorts the usefulness and effectiveness is a hallmark of great names such as Gabor Miklos and Major Tom!
 
 


/
Continued in Part 2 /




 








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