Herectvo ako dedičstvo „systému“ Stanislavského
Acting as a Legacy of Stanislavski’S System

Summary/Abstract: Acting is torn between musical and dramatic understanding of theater, between the mannerism of realistic school and searching beyond the clouds of “philosophical” directors, between a closed theater and free space of performance and between lecturing of „deep interested ideas“ of deeply thinking authors and demanding, or sometimes even quite cheap and little intelligent body speech in an alternative theater or in the theater in general, which is different than the accustomed one. In the reality, the author of a study wants to point out a series of artificial barriers to freely interpret Stanislavski or Cechov and let’s say Grotowski or Scherhaufer. The most important information is that Stanislavski was not only the subject of the study of education of actor for acting for nearly a century, but he was also an obligatory model for all theaters in socialistic countries, making his real message quite warped. It was also useless to fight against it, because experience has shown that Stanislavski’s learning about finding the truth in the stage picture directly in the actor‘s soul is pretty much mandatory for both the „traditionalists“ as well as for representatives of the “an sich” theatre, a theater as an art itself and not only a theater as a derivative of dramatic literature.

• Details
• Contents