Much more interested - and also outraged - the way some directors destroy the most powerful imagination gifted actors as well, by his own thoughts, ideas, ideas they want to peremptory impose instead of being allowed to think for themselves. No repulsive to me than when the director thinks he needs to establish its character, and as a gift package, graciously handed to the actor. These directors also heard from the mouth of "Imagine" instruction, but before you actually imagine the actors, the "master" already provides the answer, blocked any further attempt by the actor. Of course it is not the case that there is absolutely no need for a director to help! The stage can not rule out the anarchy does not happen all the idea of all. Summarize, refine, a common denominator to bring some of the ideas, and this is one of the most important tasks of the director! Try to find a piece of your message - and of course the artistic message of your own best ideas, and be able to discard those that do not fit into this picture. Lucky the state in which "only" so much to do with the director. Because this is an idyllic situation as rare as a white crow. Even the most talented, most brilliant actors imagination can also fail, and can work much more poorly than usual, and in this case the director's support is essential. Immeasurably much depends on what gives instructions on how the artist is able to stimulate the imagination about how to move up the internal creative energies! "It must be appreciated that the disembodied from the flesh and material stripped of fiction can reflexively trigger of our flesh and substance, the body's real actions." - Writes Stanislavsky, who in all other trends to higher and higher, the psychological activating elements work best between raised imagination. So much was essential to classify the emotional memory of an equal footing with, or has repeatedly stated that the two components can not function effectively without the other really. To what was right for the show since the three-quarter-century doctor of the results of psychological experiment, which writes about the actor Tom Vekerdy effective means of meeting his book: "The observations we can say that memory and imagination involve the sensory organs are also active to all the senses specific memory patterns and imaginative, and they are as specific forces that are part of the mental activity of general energy." Study of additional sites in more detail indicates that of the imagination - Training - which is able to exert influence on the whole body, and emotional memory. "The word can trigger your body all the responses, which were the stimulus you can substitute the word ... is also able to influence the operation of the organization. That the word of physiological and medical factors, the daily practice of physicians, physiologists, and we can experiment a sequence. The word and the result of offensive imagination can cause the white blood cell count increased, blood glucose changes, decreased specific gravity of urine / as if the patient had drunk had only told him to drink, and more drinking. / So bruised punch marks, and superficial burns caused, that is, the experimenter triggered the patient's doctors, the pilot's body. So, beyond the control of the heart, blood vessels, sweat glands, muscles, independent state of consciousness: a fast heart rate may become a test person's face turns red increased sweating, his muscles become rigid. The pain is so effective in the attenuation of - until the numbness. The imaginary and the imagined impact on firing just cause damage for clues, at least once in their lives who have this type of injury suffered: who is your body knows how to react! Certainly, these statements seem incredible to a layman, as I was in doubt until the theater during my practice who have not tried. The findings of this and there were later write in more detail because it forms an essential part of my method! By way of explanation, I must add that Vekerdy not the simple, everyday words used by thought, but it szuggesszív, art form - or a framework for medical - cast version! The form of the word is by a psychologist to apply for the grant of the patient's state of hypnosis, and which the actor uses a cathartic effect. In fact, the actor is so hypnotizing, namely twice! First, you execute szuggesszió and then having himself been made a very similar state of hypnosis, in which nearly one hundred percent believe in the authenticity of playing situations, so that the accumulated spiritual energies trying to hypnotize the viewer with charisma. Therefore, Stanislavsky writes: "... The task over to others planted into the vision." Perfectly consistent with Zeaminak, creator of the Japanese No theater two millennia /! / Described earlier findings: "What the viewer sees what, the idea of what you carry in his head about the actor." In the eastern theater for performances can be seen that they are still possess the ability to transfer the vision, so effective in acting in such conversions, so a single gesture can condense into a whole series of emotions, all the viewer's subconscious projection. In the European theater - apart from few exceptional attempt - still do not assign due importance to this, leading visitors to the theater often chaotic impressions, baffled, bewildered leave the auditorium. I believe that the lack of imagination - both the actor and director - one of the essential cause of this bad practice ... The truth is, of course, also part of our lives that globally, theater, fantasy artists, not only without blame! They do nothing more than remain in the social expectations and habits by the framework that we built. Break out of fear because they do not want to go to the head wall of incomprehension, and know that it is interfering with them returned to the limits. Some have tried in the past few decades - and still trying - to unleash their creative imagination letting youngsters make it more viable in the arts disciplines, but a series of outdated and entrenched social conventions collide with the wall. Excellent actor, Attila Nagy Anna Földes thus complained about the book: "Personally, I feel that we are also more difficult to fancy the courage to be working out, because stable and not be moved to the convention, as in many Western countries. If we compare, turns out to be abroad in many places the new cult to find, even the convention was. It necessary and even at the expense of content, is adopted. We turn every idea that is not obvious, or even shocking - hit a wall. The social convention, which almost forces elsewhere in the unexpected, our theater is too rigid and conservative culture. This one obviously is retroactive to the director's imagination. It is not developed so as to find support and encouragement of public opinion. " Perhaps no one felt better than I Nagy Attila the words of truth. Yet, I must say that I do have a way out, there is a chance for social thinking, well-established tradition of spasmodic affection to change! This is demonstrated by the young amateur actors for me my work experience. I believe that -. all formally expressed an opinion contrary - today's young people also have the arts, the desire for artistic activities, provided that the novelty pique their interest enough! We should note that the new, young generation is very little or nothing to traditional theatrical forms of expression, instead of the old and until we do not provide them a new one, they instinctively avoid the theaters! It is essential we have a duty to bring up a whole new audience to thinking that the theater can really live and not a vegetable! As a necessary actor in the new format, we can form, who can fill it with modern ideas of a modern theater stage! If this is done, now to face a number of laps leading rivals: the movie! Thought should be: are western societies, especially America, where the film industry has grown so mighty, why could the Theatre-equal branch of art to stay? Ancient origin of the problem, the issue is gnawing for decades, disrupts the Hungarian theater "body", but some academic writing, acting and directing notice, in addition to the practice, little action. Nothing worries me more than the possibility that I just described is called out words remain in the wilderness, and a twisted mind is considered an expression classified as stupid. Not to mention that these are the practical possibility of never given it to me! If so, you can also feel free to report out - even if it seems too pompously! - That the time will come - maybe not in my lifetime - when someone tries to use on stage is my theory! Is not enough to talk about it - although this does not happen often! - Not enough high-sounding theories are constructed and bewail our patient theater! The stage should be achieved all that could change the unfortunate conditions. Grand Masters are examples to us - and although we also need to be renewed in time due to erosion of Dodge - gave an example of one thing: their courage when they dared to confront the drama Excessive errors, whether they understood them or not, they came down the path begun! All of the School have created literally. Young talent gathered around them who were brought up that relentless, uncompromising fight knowing the theater under the banner of reform. Practical work, their performances are proved true, and it shook the foundations of conservative thought. And the "core", which was planted in the pupil's soul, mind, new shoots, taken on destroying everything that was outdated and worthless. Beautifully defines all about Michael Redgrave Sztanyiszlavszkí on one of his writings: "The really important theories do not arise from birth, minute, and later also treasure is opened to those who are able to understand and embrace to make them. In the twenties and thirties, Stanislavsky fame spread throughout Europe and America, his spirit was excellent Group Theatre, he the father - however denies even - the contemporary American theater "poetic realism" and his regime sustains Elia Kazan in New York actors studio's valuable efforts. Effect generations inseminated with his teacher inspired everyone who is at all capable of inspiration accommodate. Stanislavsky woke up young Copeau imagination Copeau cause new perspectives opened Michel Saint-Denis before, and Saint-Denis, this great man, great artist and great director thanked us, English is the London theater studio, the Old Vic school, the Young Vice, in a word the places where the truth, the beauty, fantasy stimulants could learn. Saint-Denis, and so Copeau to Dullin through a number of actor in actress in director was now enjoy today, even tomorrow's drama that the best guide of Stanislavsky former work flower, fruit. " The above description of the lines is automatically came to my mind is another outstanding theatrical individuality, Antonin Artaudnak the words. "A theatrical play is contagious to be / one organization to another, must stick to / than the plague." They are therefore the truly great artists who can express their thoughts so that all susceptible to brain and soul "infect", and that leads him to this "infection" does not only carry but also to be given more time. Such effect should be the actor's creations on stage and bringing up the directors, actors - even if they exist - the rehearsal instructions. This type of mechanism of action could not, however, who do not have sufficient force of imagination and fantasy! Because only then can influence the imagination of others, you have pure refined in myself, and very high degrees of heat that raised an imaginative picture, which intend to deliver! "You must be a conclusion" - writes Vekerdi this context - that "one person pilot unconscious physiological phenomenon occurring in the body a short distance from the other pilot is transmitted person whose body it also takes place unconsciously." / Therefore, the acting powerful effect on the smaller theater rooms, where much closer to one another actor and audience. Of course, only if the actor is to live what we play! - Insert your own! - / "That's why the actor involves these physiological phenomena give rise to: a real empathy / Ides: the imaginative picture of concentration, all particles precise elaboration of summon up the visible and the invisible are the same. / No is the important thing is to cry and it is shown, importantly, there is a physiological change, which is a crying act, happen. This physiological change is directly can the viewer, and indeed the audience space! ... The theatrical perspective can be easily may verítékezhet his heart strong beats - blood pressure and blood sugar level may rise ... And this also depends on the actor's ability to imagine, how did my imaginary picture of the wake emotions, bodily functions, and as a result inflection and movement as well ... The total detection art of it, and get a complete body upon impact, the more perfect the theater. " As the total perception of the skill development I think my primary task for any actor working with him. It is the intention raised it to the intricate problem, a solution which worked for years, and which is understood to be making yet another chapter to translate ...
Imagine that you die!
The instruction to destabilize the foundations of any actor's confidence, who is the representative art of empathy, or what it wants to become. Question seeks to trace cases of emotional memory traces of sensations to be transposed, frantically trying to mobilize all previously learned stimulating device, but efforts - with a few exceptions - a priori doomed to failure. Not like the actor denies the need for empathy for those who decline to the ground without thinking at the time, barely audible voice'm panting - or, even worse, yell! - Some high-sounding phrases, and then get stuck eyes, swivel head slowly away very quiet. Without a doubt this is a simpler solution that is well done, obscures the view from the refined acting talent failures and laziness. The veteran actor has long been on the pitch rather spectacular death can produce for decades, centuries of collected and recorded using the tricks of the trade. These include shortness of breath indicator throat for haste, or the shirt top button on the panic button of votes, possibly picking, this includes the heart region is gripe implemented, the land of the wallow, the legs are the last kicks of a good by highlighting, and this includes all the eye candy, which is the inner content of the lack of intended hide. The professionally made production applause from open air can result in irreversible but that does not give rise to feelings and thoughts in the viewer, it is certain. Not apply because the basic requirement is that sense of feeling can only be delivered! As long as the actor in his soul is empty and callous, the viewer may not charge for empathy. Because how could detect nothing big ... "I controlled from the inside of the controls ..." - Written by Attila József, and although his words are not of the theater, but also understand their own art, it is certain that not a single art work without this approach. Unable to write without the inner vision of the painter, interior, without hearing the composer can not compose, and inner feelings can not be born without a strong, credible Actor. Thomas Vekerdy much-quoted study can be found in the following lines: "French, English, American and Soviet laboratories, where the measuring instrument attempts to doctors and psychologists are carried out uniformly, the view was that an imaginative picture of the inductor and the other person, the perceptorra reclassified broadcast can without having to say it, or anything else signal would, perhaps thousands of kilometers away ... the imaginative picture of the artist as a reality materializes in its body, the hallucination, the vision of reality ... this kind of concentration is detected not only in the best possible execution of the movements makes it possible, but a physiological changes caused by the actor's body, which probably also act directly on the viewer ... " Clear lines are the results of scientific experiments to support the use of psychological theater, and within that the importance of imagination. Apparently so, "nothing" does not take the actor's imagination than the more sophisticated, polished and concentration skills, and the notion of physical actions by angry feelings you radiate toward the auditorium. Round and uniform idea appears again and again with the correct day is supported by the actors playing empathy success. As long as they do not meet face instruction in the title of the chapter until you play the task awaiting death. From that moment on, completely confused, as if it never would have been devoted to the art of empathy, they also account for the previously mentioned templates ... What could be whether the problem? What is a huge obstacle, which is increasingly bypassed, but to skip, so suddenly that he spreads them on the road started? Although the phenomenon is very striking, occurring in only dealt with the question of academics, practical solutions and no one has undertaken. But the actors that can follow an unexpected halt in both theater and film. No need for a professional eye for someone to realize that even the horror of each other in such a strong accent horror movies is how shallow, superficial, I should say that death is present neglected. Although it is true that the cinema is far more technical tricks and tools available to the director, as the theater. For some reason still do not undertake this part of the development ... Or maybe the actor, the director who resists all attempts to this direction? He who tries to elaborate on the difficulties from public? Probably the truth on both sides of the coin, a fraction of the bears. Also meet the same desperate attempts of the solution for actors and directors as well. These attempts, however, doomed to failure, which is only as effective as substitutes for lost body parts to artificial limbs. They help a great movie plot vonszolásában body forward, but real, dynamic and efficient "to run" not. So he will remain a distant camera angles, when I can only guess what happens. We must be content with the spectacle of blood splashed on the wall - or a stitch hand jerked slow relaxation to be accepted into an acting effect. It is a rough solution, not to mention, when merely left to the viewer that someone discovers a dead body ... As if the offender's entry onto the scene and the victim's death occurred between the time they were not at all important ... Certainly there are many who argue against this, much more than enough to show the horror, and even its reduction or phasing out. In his own standpoint, of course they are right, after all, we do not want everyone to accept the legitimacy of such a life-like scenes. However, since the creation of such a genre, and seems to be proved to be viable, the most perfect artistic means we should serve the ever-growing spectator camp! Do not turn a blind eye over our deficiencies, which is the essential meaning of the genre, was created and put into question the reason for it! The horror film is - as already mentioned at the beginning of my book - the same natural desire was born after the catharsis, of which the tragedy. The people of the horrors that occur in everyday life through to awaken an awareness in every respect more beautiful and better world need. This is, of course, films are required to highlight the near death phenomena illustrate the roots of violence, perpetrated in the human and social problems that have led to the outcome can be, and also suggest some kind of way out of these situations! If this tilt in the direction of the horror films of judging the value of the balance sheet, also works as a purifying force can arise that have an artistic effect could reach the dramas of Shakespeare or Dostoevsky's influence! Today, this phrase seems sacrilege, but the audience reactions and needs of - if only a few small steps - but we started on this journey. The future is unpredictable ... The goal, of course, always keep in mind that we can create our purpose, and not be content with half-solutions. Or you and a way to present the around us and to us happen to horror as they actually happen - I mean the smallest details of the artistic level of finish - or those who have it not get on, switch to a lighter genre. .. The implementation of course not so easy and simple, as is now wrote. Namely resulting from the unfortunate fact that the actors will be ninety percent of sterilization, when death is faced with the problem of acting out! / Before the Vader that constantly circle I go to a phenomenon without having to point out the reasons and show some kind of way out, predicts that the next section for a detailed explanation I give as to why standing still to cast a death acting out the task before and will also get to how this could be overcome, resolved to render! This chapter, however, I wish to devote to understanding of: why we need at all to the death as exact and elaborate presentation of both the stage and in movies! "We have to do theater, which is capable of shocking, elemental power to act!" - Tadeusz Kantor writes, the XX. second half is an artist who is a painter and director as well as the dark colors of the human soul, the negative aspects with emphasis on trying to audiences awaken to the fact that around us the world is what we do, and someone can be changed, he is what we want. As a subversive effect on the soul to reach a chosen motif that is most suitable for human feelings and listening to revive. The mysterious death permeated our consciousness as a fear of any sort has been at the heart of life in a stage called the "theater of death as" undefined. Ars writes in the poetics of the period: "This was my avant-om. The memoir, memory, invisible, emptiness and death, avant-garde." Kantor - though not the classic shocking theatrical elements used in the settlement, but because there came to the same recognition as the avant-garde groups of the seventies, whose methods of an earlier chapter I have already mentioned. However, when starting off from two different directions, completely opposite to each other research method, we get the same result, less should doubt the legitimacy of the theory, as many do! "... Only the face of the dead to be born in us to the fact the shocking realization that the fundamental characteristics of living only for the differences among them may result from the lack ..." - Kantor declares a firm conviction that causes terror to those who have the opposite view. This is of course not in the least excited by Kantor, in fact, seeing that could provoke debate and satisfaction in the stagnant sarkalnia conformists, more expanded definition, in relation to all branches of art. "... Innate prejudices and fears a more accurate picture of the beating, and any conclusions drawn in order to lay the boundary, called the Death of the condition, because there is now no threat to conformism, which gives a reference to the artist and the most extreme condition of ART ". The presentations have shown him all the time. The audience reaction, artistic sensitivity is far superior to conventional methods, held pieces seen. One of the premier after he wrote in his diary: "Death is an area of future viewers of the surprising message metaphysical shock provoked. And the actor's art and tools DEATH summoned, its tragic and terrible beauty of preaching." Theatre of Death In his study, which quotes from consistently highlights the death of art and words, thereby demonstrating their cohesion and importance. Kantor's work and the results were sufficient in themselves to prove the viability of a new theatrical concept, but - counting the fact that representatives of the traditional elements of individual cases, self-concept remained qualify - I feel I must bring up more examples. Examples that if you do not win, but at least a little confused by all the conservatives oppose the new one ... The world at another point, without any spiritual connection existed Kant's nose started to like dark colors fill the canvases of the Galician-born film actor and director - Erich Von Strohm. If a person stood in front of the cameras - has any role in this - the moment of the appearance of a strange, tense atmosphere filled the canvas, and his heart is impaired. And when the other side of the camera as a director in place, so every employee who works wrested from the outcome of which could not be seen without a shudder. In a newspaper article they wrote about him: "In the twenties, almost every film was accompanied by controversy, as these ruthless manner by exposing the hypocritical morality, a psychiatrist at digging deeper into the male-female relation, took the canvas repressed sexual desires, perversions." The mirror, which was held in front of society, and a mirror of society itself is perfectly known, provoked strong resentment from those who only filled with lies, no reason at beautiful picture painted in the world have felt safe. They are the sleeping souls felt very offended for being alert for someone to blow, and dared them to awaken from a long and deep stupor. Characterized by their small, their energy is not brought to the surface and showed the analysis of problems, changing translated, but rather to undermine it, he was able to such sacrilege! And although the twenties, managed to chase away Stroheimet from Hollywood, the final word - usually as always - who told the audience. In the l958's historic vote in Brussels film of all time, three of the 12 best films of his work was! If we add to all this that the French government in l957, artistic way of breaking the honor in recognition of his who was certainly no more doubt about who was right. Because what would be the supreme art, the most basic task, if not to keep it there for people in an imaginary mirror in front of his nose to wake them around and the monster lurking in them. Those who do, do art. Those who are not of something else ... For those few who have undertaken this, at the moment and rarely receive recognition for understanding. Fortunately, we also harsh and cruel in our century there were some who dared to give it a try, even if they knew that I assume this is the immense loneliness and emptiness. Kantor is not to be quoted again, because the more apt than hers, and a better formulation is hardly found. "The artist's position in a situation comparable to a one extremely important goal pursuit suddenly feel that this is the forward motion of the mission is becoming the life tartalmává, and - way out in search of, or rather bridge - you realize that about him more and more Door closes in, a lot of himself to close her, and elsewhere to try and continue to go with the startling knowledge that every void, and that the real activity of the isolation, the activities to select and reject all that this gap was constantly trying to filled with something. something that we call reality ... " Note that the requirements of today is quite different than it was. As shocking and disturbing was the treatment effect in an earlier era, the now almost nothing to the people. The only thing that has survived - and that all pre-historic era, because it meant the same cathartic effect and was able to trigger the viewer - since the creation of the dreaded death. Say that this and only this - this art form to get our booking mechanical, and numb the minds of lazy people, aware of it. This is just one artistic trends can: shocking elements of psychological realism! "Today's art, feverishly looking for the surprisingly new. Not only do you say that because it may appear, but that these can be used to influence, to pass through the mind's armor mechanically falling conscious processes in their way laid out, set. The novel experience of a surprise, I am able to wonder about, ai psychology, the first and the most intellectual among emotions. and also the transition of emotion and thought, indeed, between perception and cognition. " - Vekerdy Thomas writes. Tolna Susan put a similar example of an interview with him: "Albee, is not afraid of the wolf's relation to drama, somewhere, said that time is no longer teach, teach the audience. Today, to be awakened, shaken, and this is only possible if the work, the thought of hitting the head. The success of shock-effect that is felt when someone jumped up from the auditorium, and indignantly left the show. " Albee's words - in my opinion - some need to be clarified. It is not true is that today there is no time to teach and educate the public and, therefore, should be used instead of the shocking elements. I think the two are not separated! Therefore, I would say that the precise effects of shock, appropriate use should be taught and grow in today's audience! That there is little suited to the Enhancement of death and sin to miss this opportunity! How many beautiful Desdemona formation has been seen on stage in Hungary and abroad that have not achieved the required effect, as some kind of unexplained absence were feeling to the viewer. No one was able to consciously explain what the problem was, what was it that was missing, but way out of the theater hall, he fumbled the incompletion of the subconscious, a sense of dissatisfaction. But a good, all seemed well developed ... and yet ... and yet something was missing ... Ultimately, only a tiny speck of dust was a well-functioning machinery, only a few moments and left the actor experiencing the inspiration, but it was just enough to spoil all that for hours, they built the lecture course! Make a mistake, because it was exactly, which is the essence of the whole thing, which is due to any previous incident happened on the stage! Think a little deeper into things. Turpitude Iago, Othello is evil revive the flame of jealousy, betrayal and human gullibility, the stupid and cruel coincidence of circumstances, in a word, everything that is included in the piece, condensed into a point of senseless murder was committed at the moment! How can I afford it the luxury of just this moment does not work out correctly? It should be noted that the jealousy and all associated nefarious manipulation, which the outcome can lead to only know true face of the show can be really realize inform the viewer of this emotional nonsense of danger and, if you murder a level of reality is presented as always happens in the real world! If sufficiently horrifying the viewer Desdemona's death, when perceived in a can is a hell of pain, fear and pain that such an in offense when the victim feels, and at the same time focus on the acts of the meaningfulness of the viewer's soul - the subconscious starting cathartic cleansing effect due to - rearranged all the previous ideas about death, and if it were present in the seeds of jealousy, and then will attempt to escape the Othello-round. Thus, to become credible on weekdays Jago, who had every sentence unreservedly believed to have accepted. In a word, and then try to rearrange his thoughts and behavior to avoid a situation similar to the stage. And there is no greater thing that a mental performance and physical activity encourages the viewer! It was, and it has to be the theater is eternal! This course should be able to really play a real empathy for death! It's no less - if not more! - Intensity than the rest of the piece. However, the formation of such a rarely gives us a special talent actor. Perhaps now it is not unusual for the reader, if this is a house in the alternative groups have found an example, Michael Gabor's book on avant-garde. "... A wildly Wildgrúber long strangling Desdemona struggling and not knowing what to do with the corpse, half-naked corpse of a toss up screens ... The German director Othello black humor tradition, indeed a tragic performances sanctioned because they do not give a satisfactory release of Atonement . does not forgive any of the world, not Othello, Desdemona is condemned even the stupid. " I am convinced that the actor who learns to play the death, from then on every other - even completely opposite feelings can include acting out the role is capable of! "The actor, who is the master rank in the types of madness took him round all the other able to play!" - We read Zeaminak the Council. Apparently, this quotation does not fit here, as Zeami from the madness, to talk about acting out. We need to know, however, that the classical Japanese theater made little difference to the madness and death, difficulty in acting out! Not only was missing in his perception of discrimination because they are approximately the same difficulty category of the two situations of practical implementation, but mostly because the murder is an unnatural act of madness is one of manifestations were considered, and the highest, wildest passions is encouraging to see but also the most powerful emotion on stage, as defined. Therefore, Zeami speaks about the types of madness, and not just crazy ... The above, I confirmed in my faith that death is the basic idea of acting out the problem must be at the theater. A major emphasis on an actor to be in possession of knowledge, which makes them extremely difficult and this extreme feeling of experiencing! To this end, a series put together a training exercise, which is trained and flexibility makes the actor's soul is sufficiently intrigued and inspired by the subconscious, but it also enables to the fact that these processes with a strong hand, certainly manage, keep it at bay! / I can see clearly now - unfortunately too late! - That this was the last requirement, which was missing there and when I have caused the tragedy happened! / When an alternative indicator fit my theatrical activities, is not primarily theatrical manifestations of the novelty of thinking, but its unusual path to which the actor must go through in order to enter the stage. The rehearsals, the training practices of the other, which is due to the alternative label myself stuck. I should add, however, that the two things are actually difficult to be separated because of the unusual format of training naturally results in a slightly different from the traditional theatrical performances during the game! For me, so the tests, the tests carried out training exercises are the real creative work! The same conclusion is reached Kantor, when he said: "The tests, their high temperature, the agitation should be regarded as the proper form." In my opinion, this is so even if the practice seems to have no relationship with the piece, which we are preparing. So often occurred that during rehearsals for a comedy - which no one piece of fish, but it is just a tragic situation that is not - I have done with the actor's death on the stage play the facilitating practices. That why I do this, I have already explained, when I quoted the words of Zeami / if you can do every other round of play /, but the other chapters will also provide a more detailed answer to the skeptics ..
We Never Die .....
This is not true, at least not in such a way as to the reader at first glance you think. Theatrical sense, but it gives the key to the locked door several times, which is the real creative empathy actor - as in the previous chapter you can read - he can not cross, when death will meet with the task of acting out! On stage before an actor is only lived through it or died, because if it had happened, no longer can stand on the stage. So there is a paradoxical situation for the moment when the actor with the task entrusted to it by playing in his death. In particular, the artists are undergoing a serious contradiction here, because of his principles of emotional memory-based game. You should find themselves had experienced a similar feeling that he developed a form of artistic its landing net price to the stage. In this sense, however, the laws of nature that can not be found, even if accepted as existing in reincarnation, because the benefits of code implanted in our brains oblivion saves us from death to life and to remember the past! What does it say Stanislavsky? "... The character played on stage create the life of their own experiences, which were taken over from reality, and we took over the role." Elsewhere, the same is defined: "The actor always ask itself the question of the situation: when in reality I experienced the same thing, I felt physically and spiritually? Usually this is important to start the emotional memory of nations. " Yes, but the actor what to do in the event that the question does not get any answer from within, not because they already receive. After all, had not felt anything, to undertake to conduct a staged ... "We know the association, its psychological significance of the association. I feel a scent and reminds me of the old black, beautiful girl I loved. Evoke an impression of one another, and another, which, who was not present before many times ... But the two were present together ... "- writes Vekerdy Thomas, and his words are perfectly true. True for all roles on stage, on stage every situation - not just acting out a death. Cause of death was not yet present itself to the reality of the stage actor's life. Others have died in the environment, seeing how this is happening - by reason of being an actor is said to be well outside all the tickets, which are observed at the time, but they are just rote repetition of half-solutions and can not be true empathy. Even if it has a high degree of empathic skills to some extent be able to see the person's feelings, you will not be able to return it to perfection on stage. Past performance is suitable for only a few geniuses, but very few of them are ... However, Stanislavsky Turvan not mean a contradiction: "Eternal Law that without empathy there is no art! Every great actor has to be felt, and indeed also to feel what he plays. In fact, I believe that the actor is not just once or twice, while the role of learning to feel the excitement, but more or less every time, regardless of the role played by the first or the thousandth time. " What do I do business actor acting out a death, if it is to meet the requirements of the Stanislavsky? At this point, death is acting out, experiencing problems like bankruptcy, say the Stanislavsky Method. Many people stopped at this pradoxonnál, and abandoned the search for further solutions. In this respect, I can not cite examples, because in this study have not yet had the pleasure to read ... Resolving the conflict is - of course if you have found - it seems extremely simple, and therein we can find out where the problem occurred, or in the works of Stanislavsky theory ... The Master, a system based on the naturalness of the actors operating in accordance with the laws of nature, his human body. It has been quoted, but I feel again the reader is offered a very important statement, which reads as follows: "We are born, that the system is in us, so we have the creative talent as well!" Stanislavsky set is nothing more than that to everyone's acting abilities in all people are equally included in the moment of birth. When we walk with open eyes in the world, it is not difficult to ascertain the truth of this statement. Simply, there is no man who is not wearing any mask their own true self over. Reaction from that with which we try to meet social expectations, and so we have to protect us with threats and expected attacks. Every moment is a kind of role we want to meet! This ancient form of expression, which was the animal world - a life-saving era we hiding ourselves. And just what was ancient, arising almost entirely on instinct as well. This enables intuitive to react so quickly, so suddenly - if you need a second - for us to change the mask shape. If something is innate, then it can only stem from one place: the subconscious. Vekerdy writes: "Well, it is clear that the artistic abilities dormant in everyone there - the human body is not without it! - The question is, how to manage to wake up, untie, to stimulate activity. This capability is based in the unconscious, the ancient brain centers. " Vekerdy So - who tried to approach the psychological side of the theater, the acting mechanism - has concluded that the acting abilities of the unconscious and revealing the effects can be enhanced. This is perfectly consistent with the unconscious conscious Stanislavsky experimented with the release! It must be stated that the actor's work - the acting - nothing more than an ancient brain centers encoded behaviors and encouraging reactions has revealed conscious, oriented and placed on a framework for artistic manifestation. There is evidence that the ancient brain centers can be found in all forms of feeling which the history of mankind has ever existed between two people. Are you sure this is inherited from a parent about the child, such as eye color, physical ability or any other ... This phenomenon can follow the animal world. The promotion was already stunted domestic animals, except for all wild animals instinctively feel a little as to which of the species, which constitutes a threat to the existence of which, her life was threatened. But with the animals never previously encountered. However, lived through the encounter with the situation before it existed through generations ... A much more advanced brain centers of the ancient people "settle out" over the millennia evolving consciousness, which was at least as many disadvantages as advantages. This consciousness is the same throughout life almost nothing else does, like the repression of the unconscious forces at work. In fact, of course, this task, because thanks to -. repressed wild and destructive animal instincts by suppressing the rise of animal life forms we reviewed. / If the wars and other political events, I think, is very questionable in my mind to do so effective! / However, we must also recognize that the mind is very much a positive force to stay in the deep code, which holds more beautiful and more we live, as we do today. Think only of the "supernatural" qualified human capabilities - the existence of which, fortunately more and more scientific studies confirm, and which will be given to all fellow human beings, who otherwise run their consciousness and the subconscious, like the others ... The actors also belong to this working group are different, otherwise they would not be actors, it would not be able to meet the huge task of literary works filtered through fictional emotions themselves, others broadcast, transmit to!
/ Resume4part/
KONSZTANTYIN SZTANYISZLAVSZKIJ
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