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              THEATRE AND DEATH
                                                           / Part Two /

 Földes Anna the actor, it's reporting in his book a whole chapter devoted to the fact that Gabor Miklos, a big name, recognized capital actor, Madach theater manager, actor of the Kecskemét Katona József Theatre undertaken guest appearances, notably a well-known alternative elements working director, Rust under the direction of Joseph.
 Earthy at once at the beginning of the interview - just himself - puts the issues of concern to everyone:
"... What they wanted and what the actress was in Kecskemet?"
He immediately answers the question:
"Newer, gondolatibb theater itself demonstrate the possibility of unvarnished, feel free to search new, conceptual director, and an experimental combination of youthful dynamism. One critic put it, that it is forming, Gabor Miklos, "went through the reformulation of self"
Of course, legitimate to question the inverted version of it, what does that Gabor Miklos, where the performance is?
And he answers Földes Anna:
"A mature, thoughtful actor's experience of life, the psychological portrayal absolute credibility, built up a great, diverse, complex - another critic of that - creating standard formation. Which is not eloquent, but an integral part of the performance is one of the pillars. "
A conversation with Gabor Miklos, the writer, of course, the actor is asking the same question, only much more openly, more straightforward. Defines the issue as such:
"So, no role in its decision was not in Budapest and the current state of theater? Not associated with the profession is well known fact that the courage to initiate the new search is currently outside the capital needed for new ... more and more important place, and say, Kaposvar Kecskemet, as in the capital stages of theaters? "
A giant of an actor with his typical diplomatic answer, trying to save colleagues of Budapest, but he also heard a sort of mild criticism.
"... The problem is that somehow does not strong enough to assume openly the changes, and in a sense, it slows down the movement ..." - he says, then continues:
"It was a step I did, I think every artist should do when you feel that slowed down the track. I'm not broke, do not want to break the Madách Theatre ... But I feel this step, this meeting was now a vital need. In fact, I believe that ultimately this will benefit Madách Theater ... these young people is something that makes the best actor must also take out the pants, if you want them to keep pace. "
Gabor Miklos cause the words of the writer draw more concrete conclusions, as it did at the beginning of the interview.
"They're rich with thoughtful, creative imagination gifted and experienced theater people, so easily that you can waive a possibility? For Latinovits Z. brilliantly demonstrated in Veszprém with Citizens Small to simultaneously inspired and professional director. And that was not enough to absorb the directors guild. Just as for years it has not been granted admission to the walls of the Szeged Paál Stephen ... no problem ... I feel it is not a private matter, but a symptom of diseases of the theatrical life, if you do not focus of. "
Moreover, evidence is very instructive to read Anna Földes excellently written book!
Each declaration refers to the professional theater as an actor consistently digestive problems! The possibility of change has not received the political leadership, but they could about the problem, because the censorship he had to read at least once!
As an example, I mentioned Major Tom, who is also leruccant region and settle in Miskolc Hamlet, though strongly opposed to earlier work, has also survived as one of the jewels of his career.
As previously mentioned, was just the Major, who in the sixties of the National Theatre as a leading actor, first raised the Stanislavsky method, the need for rotation. Therefore it was very interesting - and in one particular exemplary witness! - When the twilight of his life - after two decades of hard rejection - the Master's method of returning!
He returned, took him back because of curiosity, how the avant-garde groups have modernized the system, but has returned also because it includes for he knew that he has ever had in this way to go!
Can safely say that you regret the death occurs years later, again believing Stanislavsky had was breaking!
However, the truth is also part of that - even if subconsciously - but never really came down to take the path of psychological realism!
If we let the surviving film footage about it, we can not be overlooked, due to immense talent otherwise he could not play, but true and deep empathy!
Strange thing to see the medley-style, which is produced in the duality.
While on stage every scene and every actor Brecht had, until the spirit led him into Stanislavsky!
In this artistic paradox, which has accompanied the II. Post-World War theater were all brilliant actor's career! These giants of our art is also going through all their soul with their role, otherwise if the director wanted!
/ It is also true that without empathy, without the giant could not have been, had not risen from a fellow! /
Returning Major - in addition to not question his genius for a moment - in my opinion, a major responsibility for everything that now characterizes the situation of the Hungarian theater! Because few have been given equal opportunity to stop the deterioration, than him!
The underground Communist movement, its activities in a friendly acquaintance and has acquired, has been in close contact with people, many of whom later held positions of responsibility.
The use of these relations, as well as sub-national position and due to, it would have been able to stand next to the psychological realism, and affect the cultural politics of the dictatorship!
In his opinion, of course, true that the method is tired and some elements have become ineffective, but a caliber of an artist than he was, would have had to take notice - just as he did this at the end of his life! - To make some changes and modernization in almost unlimited opportunities for creative energies could open the way!
Knowing Major and Hungarian actors of most excellent professional skills, to say that if you stick with the psychological trend in addition, if renewal is used in the amount of work that the Brechtian-style acquisition was paid, not only catching up would be the world's theaters, but in some respects it is could have prevented them ...

 The apotheosis of irony and dialectic

 The definition of Grotowski, the Polish-made theater greatest reformer.
Stanislavsky theater next to his other personality, whose artistic vision, developed over many years, certain elements of style - of course, my own perception idomítva - built in my work theory and practice.
Gabor Mihalyi Grotowskiról book chapter on I found a perfect characterization of the Polish director giant, which is hundreds of pages after I could not try to emulate! Therefore, I find it more appropriate if the 'use his words trying to explain the reasons for which in any case be of use to which I gave up trend.
The following lines as possible legtömörebben highlight the fact that what he meant ironically Grotowski and the apotheosis of the dialectic:
"Grotowski feel the need for the shock effect of the taboos, beliefs violations ... shock result - for us deposited indifference layers break down, that the holiest and most personal feelings hurt, offended, we are able to these feelings purified, sublimated in the form of revealing, and now consciously undertaken, experience, and - if negative, bad feelings we allow to crack - to get rid of our strength. The shock triggers catharsis effect this means the show is called Grotowski "a mockery and apotheosis of the dialectic". "
I quote here an extract from Peter Molnar Gal rambunctious avant-garde theater, his study of theater of the chapter, it becomes clear at once the source from which the basic elements of the work of art Grotoski exhausted.
"Pip Simons Europe, moving from-roving university theater group of British nationality, but American-style compositions presented ... Sound amps roaring pop music, political timeliness konferansz structure, obscene gestures and obscene scenes from a mixture of evolved programs. Disobligingly bond act with the audience. Regularly climbed over them, their lap jumped shelter asking. kissed the dark, and men's lap sat. burning marijuana cigarette offered up to viewers, but only to be adopted by someone, and jeans zipper pulling cramp masturbation imitated in the first row in front ... the teasing as a result of the performance over time develop an atmosphere of danger: the unpredictability and uncertainty dominate the audience.
And if so cleverly provocative handling of the tools like Pip Simons, the show will succeed by the end of a hysterical atmosphere created ...
The danger was experiencing a strong sense of collective intention. Arts elements outside the physiological effects of fear aroused by her, a deep fear of animals. "
Grotowski is the avant-garde performance groups in the shock was considered the most powerful, enhanced worthiest motive.
He felt this negative element of positive, cleansing effect of your soul, so theatrical experiments in specially laid the main emphasis.
On the same road and in consideration therefore began as a horror film, but the results - thanks to the long laboratory work - have become much deeper. They managed to raise the artistic perfection of the horror elements, they are sitting in the audience from the effects of a single audience member he could not untie himself. The catharsis is almost tangible swept the men ...
Laboratory Lecture Theatre of Grotowski very difficult to write about, to find ways to give back to the theater room, the prevailing mood of at least a fraction of. As discussed in the following quote shows, Michael Gabor is only partially successful, and Calderon was present: the enduring piece of Prince's premiere, and relived the game due to catharsis ...
"The prince refuses to surrender Ceuta punishment of acts of torture in the illustrated scenes flagelláció: Fenikséna a red cloth, as far as the power of a crack, Prince hits the bare back. Then the prince himself will continue lashing of red cloth, wailing sound of the courtiers, danced to, and doing costume transforming again into monsters to change, so to reveal true selves ... The courtiers who Ferdinand's agony at first only good acting performance they see, and laugh applauded the convulsion, rattling roar, suddenly understand what is happening before their eyes. Ferdinand's death, the cathartic effect on them, his body around and are shocked sad, beautiful song mourning the end of the performance ... there is no applause, no applause at the end as worship. The result shocked viewers to experience, to retire from the room in silence. Just outside the stairwell and on the streets of consciousness, and even start on the rapture, whether express opposition, but always passionate debate. Like the man Grotoski theater or not, from the effects can not be a long time to get out. "
Of course, why would you want to free themselves from what is the essence of all theatrical productions need to be founded? The audience is going to play, that one way or another - laughing or crying, satisfied or dissatisfied - but actually living the cathartic effect, altered state of mind to their home field.
Not be an exception to this rule!
But sad that the theater visitors may be only a quarter in the fortunate position that this desire is satisfied.
The vast majority are forced to settle for performances that do not arouse debate, you can not talk about them, and because it does not leave any trace, almost immediately fall out of the theater building from leaving the viewers head.
/ The soul can not be made to drop out because they did not find in there! /
These people - almost miraculously - in spite of cheating again and again to return - albeit with a somewhat depleted numbers - hopefully, next time get the reward worth the high price in tickets.
The arrogant, wrong track going in theater management believes that this is happening because of the high quality presentations, and will continue the "good" bad practice ...
But because no one shall be forever the hoodwinked, tricked the audience after a while they will not return, and the theater fandom even more drastically shrinks.
This evidence is increasingly being felt, and against the official explanation of this phenomenon is not a high ticket prices and people's livelihood was due to problems!
He proves this by the fact that two of the same operating theater ticket price of one full-house, while the other only half a body function.
The difference is clearly due to the variation in standards!
The fact that a production can provide what the spectators.
Can an influence to the viewer - as if suffering from drug addiction - are always thirsting for the felt emotion ...
Theatre of Grotowski is evidence of the charm, which can lure back to the audience.
Is therefore the envy of rivals.
/ Only I do not envy the wealth of work, which is to be carried out day after day. /
Not willing to acknowledge that the results are only really serious artistic body, twisted soul, can be accessed through laborious exercises.
 "The sensational results not only in sports, but the drama did not give a penny." - Writes Michael, and truth as such assertion is supported by:
"Grotowski 9o different type of exercise developed for students and actors ... he said, understood him Stanislavsky, the actor training is indispensable requirement for some kind of system is strictly established practice. Meyerhold biomechanical system is used, immersed in the Chinese theater, and even the breathing exercises and yoga practices include some elements of his power inaugurates.
Twice a day is carried out these practices, constant training is much needed, without it is unthinkable had the extreme physical effort seeking productions present ... Grotowski actors in the rehearsal process faced a myth. Internal nudity, the inhibitions, against job cuts in the process of taking place in the analysis - the analysis of what it means to their own deepest ego ... the negative and positive forms of behavior, archetypes confrontation with confrontation ... It's a myth but a very intense, ecstatic state of mind can take place.
Only this will ensure a shameless honesty, the most hidden, secret exploration of emotions. And it does not become embarrassing exhibitionism, anarchic, pointless twitch, shouting, Grotowski requires the actor to a variety of psycho-dynamic effects to free their confessions involve thus released energies to the work of art discipline under find this phrase necessary, individually designed but then set standard of movements, gestures, words and sound effects, consisting of the audience can understand sign language. "
Grotowski, in its opinion such Sztanyiszlavszkíjról creation came next, as I do: namely that the Master did not finish what you started.
The method was perfected by the majority improve, but some elements neglected.
These parts are targeted by the stepmother treated Grotowski, feeling that their absence is only a psychological one-armed giant theater to theater styles, and some cross-over is nothing new to be able to provide neither the audience nor the actors.
The base is, which is built Grotoski because of the psychological approach to the actor's work, like Stanislavsky, but there is a substantial difference between the psychological factors emerge limiter mode, and the impact on viewers to achieve!
This is a very important difference is none other than the use of shock, not only the audience, but the actors too!
You should continue to quote from the Michael Gabor started because they are very good shows that go beyond what is the direction of Stanislavsky Grotoski by the process of creation so important, even essential prerequisite was the method of unlocking the unconscious.
"As actors, the displayed figure in the myth related to the conscious and unconscious, the subconscious depths of pre-mined their opinions, promote their reaction is expressed, display, their role is not just plays, do not identify with an outsider, their existing independently of, a foreign shape, like a traditional theater ... but all the mental and physical energy by mobilizing / Grotowski, this is called psycho-physical game mode / induce a trance state - self-administered, self-innermost secrets to reveal. Assumed the role of themselves build their own. The ritual, the ceremony itself plays a role that the participants get to it and remain in their ecstatic state of spiritual purification is necessary. "
Immediately noticeable in the completely opposite approach, which differs in two important features of the Master's vision.
First, while Stanislavsky release suggests the unconscious conscious, Grotowski had a kind of ecstatic trance to be necessary for unconscious exploration, production and employment. This ecstatic state is not something else, like the shock effect to bring about.
Of course, this is a conscious, directed and supervised the intervention of mind of the actor, but a much more drastic than Stanislavsky Method.
Another very important difference and go Stanislavsky compared to the fact that Grotowski is not identification with, the more complete experience of requiring the actor as a Master, but that self-administered, with themselves identify with the more perfectly, and so should be released include a presentation need energy.
In fact, Stanislavsky is good in some places referred to this possibility when he explained that the actor's own soul in the shape eljátszandó soul bricks and rearranging it to create, but it really did not pay sufficient problem to develop.
"The most intense activity of mind, the unconscious will not be released throughout the region." - Thomas Vekerdy ​​The actor describes a tool in his book about Hungarian formatted with the much-talked-about release of Stanislavsky's Paradox.
Well, many ways to stimulate the mind, no doubt, however, that the most effective method of inducing a sense of danger.
As a Stanislavsky-realization is reached, since the actor's work, he writes in his book:
"... The sense of danger ... and the image of the man always get excited. It is like yeast, which ferment can start at any time. "
It also gives an accurate picture of how this mechanism of action has become the actor.
"Something like that happens that makes the eye suddenly looks different, ears otherwise hear, the mind in new ways will be up to the surrounding things, and the final result is a fiction, naturally leads to the real action to attain the objective set is absolutely necessary. "
The theoretical findings were hardly followed.
The Master of the practical training of actors as if they had forgotten about what you described ...
It tries to make up for deficiencies in the two Grotowski, when the psycho-dynamic exercises while provoking the inhibitions to reveal breakthrough for the exploitation of an unpleasant situation that brings his actors.
It is very well realize that the viewer can only cause a shock to the actor's ability, who is himself a kind of shock was the cause for this ability!
I agree up to this point, the Polish director.
So much so that the thesis of my method was a cornerstone of ...
The Master was still an unforgettable work of a major failure, which not only aroused in me a sense of incompleteness as Grotowskiban, but rather a dead end access, leaving open questions that remain unanswered and unresolved problem in a serious sense of abandonment.
This problem is nothing more perfect than the death of empathy acting out a problem, the Master of Emotional Memory of his views in the light!
As the details of that - a better understanding - I come out even, because in any case before the reader needs to learn some new concepts ...

 The benefits of remembrance

 The Stanislavsky, Grotowski and the avant-garde elements taken from a single fund focused on my art.
This is the basic emotional memory!
This together a unified whole absorbs the practice, which is directed by actor training and the effectiveness of the desired pieces.
"If someone can be pale, blush memory of an experience if you think of the long half-lived unfortunately - it is an emotional memory." - Means a Stanislavsky, and also gives a more detailed description of the concept of emotional memory.
"As a visual memory for the inner vision there is a long-forgotten objects in a landscape or a human figure, exactly as food for the emotional memory of previously experienced emotions."
This sentence gives the key to the secrets that will help us to make our feelings known to express more fully the artistic process of creation.
The Master in determining the essential moments of the "previously experienced feelings" is given.
Remember just because an event may be, which has already been done, and to a lesser or greater impact on our lives, our actions.
But what about the death, the feeling of death that has never lived through?
Will this never-lived feeling of how we can bring to the stage, because the logic in this case failed to tell the emotional memory of nations! Well, this problem has remained unresolved by the Master, which I mentioned at the end of the previous chapters. But the details later ...
Of course, in itself, has no recollection of artistic activity, as every man, in fact, every living organism has the ability to recall memories, yet we can not seriously think that everyone is an artist as well.
Vekerdy ​​Thomas read the following in one study, with relevant quotes:
"Psychological studies have shown that the man pre-experience pre-assume its occurring events. If you have a place to enter, where something exciting thing went through, next time when it enters the faster beats of the heart. Pavlov found that already in the lab facilities or the corridor leading to it also affects a variety of experimental animals, as the experiment itself. "
Vekerdy ​​finding fully consonant news to find a scientific journal, which dealt with whether the plants have to do with memory.
Well, U.S. researchers have shown clearly that they did.
The plant leaves a super-sensitive electrodes were placed, which - like the lie detector machine - could signal changes due to the excitement bioimpulzus. Then, one of the lighter flame burned the letter, which makes the instrument showed signs of pain.
It is also generated enormous enthusiasm of scientists that has been proven: the plants have feelings too, the experiment continued, however, was even more surprised them.
When you lit the lighter, the device figures fear reaction reconstructed - without the flame of the letter would have been close!
What is more shocking: the more the flames approached, the more strongly indicated the instruments! And it was repeated again and again, any number of time tried the experiment.
The plant is used to remember the pain experienced, and again when a similar situation that has been produced waves of emotion is appropriate to be older, although it has not caused anyone, "her" a real pain!
Stanislavsky is half a century before the experiments are perfectly aware of the nature of art and an integral, inseparable relationship with, it was only possible path to the naturalness of artistic creation.
Actor attested to in his study of his work on paper lines.
"What we learned, and we want to work with, it is usually referred to as" Stanislavsky "system. This method is all the more power that no one found out, no one discovered it for their own organic, physical and mental ability of nature! The art is based on the laws of the laws of nature! A child is born, the tree growth in the art form was born - a homogeneous phenomenon. It is taken that the system is in us, so our creative talent is born! "
Study will end with some cautions students to:
"The system can not play, the test should be used at home or on the stage are not doing so, however, there is no system, there is nature."
An important warning is that all of the trends within the creative director and actor should be kept in mind, yet many people forget about it.
Really talented actors often fall into the trap of trying to lecture you apply a psycho-physical exercises to stimulate emotions. Tortured themselves, tortured their souls, that flow from them feeling something is true, but it remains fruitless experimentation.
What's more, they can also worsen their situation, because while you are busy with themselves, they can not pay attention to your partner, can not establish the necessary contacts, and thus their existence on stage spastic mugging distorted.
If a key role in the play, their behavior may be caused by the collapse of the whole show.
Therefore, believe wholeheartedly that the psycho-physical exercises - including the emotional memory is targeted at stimulating! - Only to carry out an open rehearsal with the actors, but there is intensity and effectiveness is that the efficiency can withstand hundreds of performances!
This observance is also a basic requirement only if they meet eccentric phenomena, such as emotional memory.
Example is the Master on this characterization:
"It seems to be completely forgotten, but just come for some references, ideas, familiar characters and re-power over pimp us for the feelings and memories, sometimes just as strong as you might, sometimes slightly weaker, sometimes stronger: sometimes unchanged, sometimes slightly changed ".
In the same chapter again to return to the problem:
"As such, the moment of danger is the man to remain calm, and then fainted, when he remembers it. What is this, if you do not mind the emotional power of its example, that the feelings evoked are sometimes stronger than the first, as the former grow more in remembrance. "
But whatever be slippery and difficult to grasp and control the emotional memory, indicating the importance that even the psychological theater is not at all sympathetic to styles is absolutely necessary to keep the process of creation!
George Szekely writes Theatre Aesthetics his study:
"So say that the contents of images, ideas - and that is not crucial - part of the after-image, we remain true to the fixed piece. But perhaps more precisely formulated, if we say, a collection of memories, including the collection of special memories for them as well, for example, the so-called "emotional memory" set apart for us.
Therefore, each acting theory emphasizes the crucial importance of observation: they only lived experience can store ... "
The interesting thing is that much of the Stanislavsky system before booking reference and many people were aware of the actor's memory, to form a positive impact.
Diderot is paradox of the actor specifically states:
"... The actor who thoughtfully, knowing human nature plays a constant role model to imitate an ideal break, his imagination and memory support, it is always, all performances for forming uniform and flawless."
Stanislavsky size is not an unknown thing is the discovery of lies, but that one had almost instinctively applied phenomenon consciously made an artistic work sphere raised and will be pleased with him all the superfluous flourishes, so crystallized that result as a new trend has been set up!
What is even more important: to what is created, irrevocably positive impact on the thinking of the whole theatrical world!
Not only theater people either, who could totally independent of the method of the Master himself!
Up to modify, change, put it in a different order in different elements, even in full as bad, but the emotional memory as a starting point, try it all lies!
Even the great rival, Bertold Brecht really could not extract itself from the effects of the method, especially the need for empathy or excess of the respective issue.
He tried everything to refute the findings of Stanislavsky, but in the end it is he who has his own web of contradictions there!
 The famous alienation effect / V Effects / discussing at the time, but initially denied trying, finally admits that the actor is essential for - at least in the works of the first phase - the identification, and only later to establish the distance of the shape.
Because there is not at all the different shapes of identification is unavailable, the only actor in the recall hidden memories, you remember ... we got to the emotional
A reproduction of art - which otherwise is closest to the art of empathy - also places great emphasis on the memories.
Anatoly Efrosz love the writing test, entitled carefully constructed draws a parallel between the two trends:
"Stanislavsky, the role of experiencing means that in each case, each repetition is really thinking and feeling in it, while in show means that those who once lived through, remember the feelings a natural manifestation of the external forms and have the memory stone to learn this accustomed to using muscle to this form automatically repeated. This is different from that of presenting the art of empathy. "
Efrosz finding confirms an American psychologist's statement:
"The reproductive imagination is closely related to knowledge. The more abundant, richer and more complex to organize his knowledge of the people, the easier and more clearly in the portrayal can imagine ... "
Numerous examples could be taken up as evidence that Stanislavsky method of determining how much the world has become part of the theater arts. But I think that the great disciple of the following words Efrosznak more than anything to say.
"When I watch movies such as Italian, it seems to me as if I could see Stanislavsky. When the tragedy of an optimist sailors Tovsztogonov directed one dramatic moment, a sad waltz begin - this is quoted by Stanislavsky. Scsukin When Lenin and the October Ohlopkov film shown to us in the role of Lenin and Vasily, Stanislavsky once again comes to mind. Even when I see Charlie Chaplin, you do not think that this has nothing to Stanislavsky. "
Beautiful and true formula, which does not want to add more ...
Further more I would like to highlight some of the many cases that are beautiful examples of artistic and emotional impact of the use of memory.
Examples of what it sets out to master:
"The actor is able to experience your own emotions ... Loan can be a dress, a watch, but others may not feel the role of someone or to rent!"
Gabor Mihalyi read:
"Gabor Miklos ... a conversation with him he told me: the role of Hamlet remembers thinking of his youth when he learned boxing friends and young intellectuals that they could defend themselves if attacked by fascist lad."
Mihaly also found a very detailed book description Stephen Paál avant-garde theater in the addition of Caligula.
"The actor Stephen Holl, not just pretends to be Caligula, but also what it becomes. Even before the show, at the forefront of the stage, includes the traditional lotus shut concentrate to liberate itself all that it Caligula to be Caligula himself. The identification of this effect or rather stage play "live" the other actor, not play-act, not imitating, but of himself, his fears, sufferings, hopes religion, sobs, screams, laughs in his natural voice. The naturalness and authenticity that emanates from the stage moving experience that brought me to the stage of Grotowski and Brook.
This is the reality of theatrical existence is the credibility of the non-impression, in words you can not be formulated feelings eats, but also awareness of experience from which to recall, re-existence of Paál Stephen will create a true theatrical situations, throat clutching fear of inhuman humiliation, humiliation, helplessness situations of anger or friendship looms, the sincere friends talking, gentle, anxious moments of love. The acting specificity is characterized by the formation Senectus poignant role of providing the show after László Faludy confessed: Stepping onto the stage, the 1944 experience tolulnak memory, when, following his wife moved into a Jewish ghetto. "
How much of this praise sounds nicer than Efrosz convicted, but just the words:
"What is an actor who does not notice nor the" mother "word, nor the fact that" death "or that" love "or that" war ". They can not feel their organization, as if sleep had just met, what they say they have no problems in their lives ... to live deep.
The psyche of every day, the audience is able to level. But then why actors? It is incomprehensible. "
A reprimand is warranted, however, also need to know that it does not always depend on the color Now, whether we succeed in use of the stored memories.
The emotional memory is - as I mentioned - moody and difficult to control behavior: once weaker and sometimes stronger form occurs, as we want.
However, there is a much worse character also happens that does not appear!
Stanislavsky also addressed at length the problem and its solution options, because he saw clearly that will not count on stable, the creation of his play can be controlled freely until it slows to emotional memory.
The phenomenon itself is described
"Once we know the stage of the real, real reality we experience emotional memories. Such a moment go to the illusion of real life. The role of complete, continuous preoccupation, and an absolute unwavering belief in what happens on stage, terribly important, but only rarely comes up perfectly. "
A few pages later, also provides a concrete example of the Master.
"Imagine that someone publicly insulted or slap hit us, causing our faces to the sky during our entire life. Such a scene is caused by the internal shock is so great that the rough details of the actual violence in all circumstances and external dims. The injury he experienced something trivial reasons and sometimes for no reason too, immediately caught fire light up in the emotional memory, and duplicated power reborn.
In this case, shame or death pallor pours out the man's face, his heart was tightening and furiously hammering ... If an actor been so pronounced, easy to conjure with emotional material has, it does not cost anything for her to relive on stage a scene corresponding to the life is so shockingly influenced him and so profound it ... These feelings are emotional memories and repeated one of the strongest, sharpest, most precise and most viable types. "
Against this background, the following conclusion:
"The emotional richness of memory than it should be considered separately guarded material strength, durability and quality. The stronger, sharper and better memory, clearer and more complete than the creative experience and empathy. "
Sentence worthy of comment, is all the more since then, their methodologies, even when I'll get back!
First, however, started a train of thought as a continuation, we must raise the question not to be missed, what to do in the event that the actor does not move there, hiding in the subconscious memories remain dormant?
"Then the psycho-technique and the given circumstances, the magical HA-factors or other stimulants to help FOR invoked to trigger the emotional responses of memory." - Advises Stanislavsky, and more specifically the answer this way:
In such cases, the nearest member of the triumvirate, the will to turn to the task ... The best will be stimulated. Of course this depends on what the task. If you do not exhilarating enough, you can not, in the exciting task, but it is a straight, direct control over the power ...
The selected job is all his own way is right and more or less able to trigger the action. The important thing is to be an exciting task, and stimulate action. "
Task to be an actor? After all, it has not found out anything new Stanislavsky! - Could say a cursory glance accusing scorn. However, if you take the trouble to penetrate deeper into the method, must realize that this is not the standard educational practices are common tasks!
For though the task you should tackle the actor, probably similar to the trend for other employees, however, the same as to solve, we can not be compared to any previously known practice.
/ In my case, not the subject of exercise, nor any form of solution is not considered to be normal! /
Specifically, visual feedback as to what it is.
The importance of empathy in denial or only partially recognize trends actors to carry out the training exercises to external contacts, facial expressions, gestures and movements to find out which are the future course of lectures can substitute neglected, failed internal feelings.
Thus, created a fake mugging predisposing signaling systems, such as heart clenched hands to express the great love, the hands sweep over the expression of fear or anxiety, the pitter-patter of feet in a sudden display of anger and rage, or the clenched hands and face shoulders shaking illustrate the crying.
In these inartistic wide theatrical trick in the range of pages to be filled with them, but not worth as much as the paper on which the space.
Still - no matter how worthless - a lot of untalented actors from using them, or laziness.
Much simpler because the emotions are not covered with reflective faces, feeling like magic on it!
In their minds, of course, can not think of what the audience against unethical behavior! Literally cheated them when they do, as if to cry, crying while the germ that causes no feeling in their souls!
Stanislavsky is so disgusted with this phenomenon of negative, destructive effect of relentlessly throughout his life, not knowing the struggle against opportunism.
"No state, no proper stage-play performance results and remove all traces of ten, adequate performance to be played through the scenic state." - Defines the actor's work in his study.
This is why the Master after the actors totally opposite direction, starting from depths of their souls trying to solve every problem.
They try to remember and move themselves up in a situation of feeling that they can get to experiencing the real, which then automatically brings forth match, natural gestures and facial expressions.
This idyllic state of artistic achievement, of course, very hard work!
Developed to facilitate the creation of the Master of the psycho-physical exercises, which have illustrated the effectiveness of Anatoly Efrosz memoirs.
"It is known that Stanislavsky developed a working method for the actors, in which a large role in the creative improvisation.
The older method of working with actors are also used during the tests to help them making the endorsement, how to express their feelings directly. The Artists Theatre, formed by the famous actor, heroes, great strength lay in generalizing, but these figures with the actors about slashing his own blood. "
Efrosz on specific cases, through the works of well-known actors' attempt to demonstrate the practices of the Master training stage results.
Here are some examples:
"Moszkvin every bone in his body - mind, heart, nerves were included in the game.
Power did not spare a single test, not a single lecture. If he himself had to cry tears, and he laughed too. "
"Szolovjov before the eyes of the audience night after night with heart and soul we are experiencing a dramatic lessons, one with hawk pads, pours all her strength, nerves and thoughts."
"Even the healthiest, strongest men are very tired after the performance ...
Participated in a terrible battle, their loved ones killed before their eyes.
Four long hours of stormy emotions slaves were rejoiced, wept, fell into despair. Devastated by throwing themselves off sweaty costumes, yet they are reflected in their eyes the events on stage ... What do you say to Olga Yakovlev, who converted to Juliet? Skinny, red-eye appears to have no strength to rip the paint face. Only later pimp out line, at home, after he recovered a little. "
At the end of the study summarizes Efrosz empathy and feeling the natural manifestation of stage experience, and then concludes as follows:
"The acting is good. But the unexpected and profound psychological blip in the emotional nature's authenticity, the role of an emotional devotion without the beautiful game can quickly get tired of it ... in order to produce someone to experience something on the stage ... a lot to learn and understand there is indeed a profession, law is to be collected ... to the actor, who ventured himself in a play the role of proper preparation was needed, as well as world record breaker preparing athletes ... it was vital that a spin, to excite himself to bother me throughout the nervous system ... needs to overcome the usual ego, and someone must become, as you can have those moments when his brain will glow when facing a troubling and important things. "
Efrosz could not have found a better metaphor than a parallel between the actor and athlete preparation. The results in one area does not come easy, hard, almost boring to practice again, body and soul to the ongoing training, maintenance-free.
"... The use of renewable western theater professionals - Stanislavsky, Dullin, Brecon, Barrault - requires the actor to the regular physical exercises, the body of your choice and a perfect knowledge of management skills and proven in some of the gestures." - Thomas writes Vekerdy.
This should not happen for another, such as emotional memory for resuscitation, the actor's mental apparatus in motion to bring to grade and then excited by self-sufficient, able to reach his perfect works of art.
"Let's end hundreds of times, understand, we note for each motif, the body learns, feels the familiar action and have to repeat yourself when you will help us." - Suggests Stanislavsky, then continues:
"We learn how to update the emotional memory. There are a number of internal tools and stimulating, but there are stimulators and external devices can be ... "
Well - without this in any order of importance or effectiveness mean - I think it is more appropriate for the first time the internal resources to deal with promoter ...


 The title, the call is often uttered theatrical rehearsals.
Any trend in place, the actors on stage, it certainly met with the director's instruction in preparation for the lecture.
The importance of imagination is one of the actors' creations, which fully agree with theater professionals. Unanimously of the opinion that an actor can not exist without imagination.
However, unfortunately, are often encountered with actors who do not have this or that with, or just ordinary people are able to operate at the level of imagination. There are several reasons that they enter the stage, but I do not wish to elaborate on them ...

 / Continue to the third part /





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