When portraying a character in a fictional world the actor is faced with many challenges. To circumvent these challenges, he must become congruent with the reality of the fictional world. In order to do so, the actor has to ‘believe’ in the circumstances of the unfolding scene and live ‘in the moment’. These external circumstances act as stimuli which the actor uses to create and consequently ‘believe’ in the environment that the character inhabits. However, the use of green screen technology in special effects limits or eliminates these stimuli and the external circumstances. Green screen is a technique used in film and television that allows the filmmaker to film an actor in combination with a green screen and then replace the ‘green’ with anything the filmmaker requires. This allows for compositing to occur and the filmed reality to be manipulated. However, this technology challenges the actor’s ‘belief’ and behaviour, thus affecting congruence with and the (photo)realism of the created fictional world. In a green screen environment the actor is challenged to imagine, experience and act in line with the circumstances of the fictional world that will replace the green screen, instead of the green environment in which he finds himself. One acting strategy that elicits imagination, action and feeling is Stanislavsky’s notion of the magic if. Accordingly, this dissertation proposes that this strategy can assist the actor in circumventing the challenges that arise when working with green screen technology. Stanislavsky developed his acting principles by observing human behaviour in an attempt to use the mind–body paradigm in circumnavigating the acting moment. The field of cognitive neuroscience has also investigated human behaviour and the mind–body paradigm and recent discoveries have increased understanding of the fields. These discoveries have validated the notion of the magic if and the components it incorporates. Yet, the discoveries surrounding the notion of the magic if and, subsequently, the increased understanding of the concept have not to date been applied to acting with green screen technology. It is therefore hypothesised that, by triangulating the challenges of ‘green screen acting’, the principles of the magic if and the knowledge gained from cognitive neuroscience, an acting strategy can be developed that will assist the actor in the green screen environment and thus create verisimilitude with the fictional world. This hypothesis has led to the theoretical development of explorations that will strengthen the skills the actor needs in order to apply the notion of the magic if; as well as an acting strategy to assist the actor when entering the green screen environment. / Dissertation (MA)--University of Pretoria, 2013. / gm2014 / Drama / Unrestricted

La presente investigación plantea la complementariedad de la Técnica Meisner con el Sistema Stanislavski que es utilizado, de manera estructural, en la formación de los alumnos de la Especialidad de Teatro de la Facultad de Artes Escénicas de la Pontificia Universidad Católica del Perú. Una obra teatral exige verosimilitud en distintos elementos escénicos, pero, principalmente, en el actor. La verosimilitud es visible en el actor a través de su espontaneidad, la cual puede ser dividida en acción física e improvisación. Creemos que el sistema Stanislavski desarrolla de manera sucinta el elemento de la acción física y la técnica Meisner, la improvisación. Esta complementariedad radica en la suma de la estructura actoral basada en una acción clara y precisa (Stanislavski) con, la flexibilidad de esta estructura desde la mirada al otro (Meisner), logrando una conexión real, lo que te lleva al aquí y ahora. Con esta conjunción, se logrará mayor espontaneidad y verosimilitud en el trabajo actoral de los alumnos, brindándoles mayor confianza en su desenvolvimiento actoral. Para indagar acerca de este fenómeno, buscamos propiciar un espacio donde podamos analizar el comportamiento de la espontaneidad en el actor. Con esta meta, elaboramos un laboratorio teatral donde sea observable la interacción del Sistema Stanislavski con la aproximación a la Técnica Meisner. Por lo expuesto anteriormente, buscamos responder la siguiente pregunta: ¿De qué manera se complementan las bases del sistema Stanislavski, en la formación de actores en la facultad de Artes Escénicas de la PUCP, con la aproximación a la técnica Meisner? Los resultados de la presente investigación son un aporte importante para tres áreas específicas de acción de nuestro quehacer: la interpretación actoral, la pedagogía teatral y finalmente, la teoría teatral; y de esta manera, seguir construyendo conocimiento para mejorar la calidad de los profesionales teatrales de nuestro país.

El sistema Stanislavski y la pedagogía de Lecoq son ramas actorales que han sido investigadas y trabajadas exhaustivamente por separado, pero no existen estudios que propongan el posible diálogo entre ellas dentro de la práctica actoral. En ese sentido, la presente investigación establece las bases del encuentro entre el proceso analítico que propone el sistema Stanislavski y el trabajo de entrenamiento físico de la pedagogía de Lecoq encontrando así un método de trabajo donde el actor abarca la práctica actoral con mayores herramientas y efectividad. Los pilares bibliográficos de esta investigación parten de los escritos de los mismos creadores – Konstantín Stanislavski y Jacques Lecoq – y se profundizará en la información con los estudios de quienes continuaron con sus investigaciones. A partir del diseño de un laboratorio, la investigación hace principal enfoque en el diálogo entre los conceptos de acciones físicas y las 7 preguntas transversales que se plantean dentro del sistema Stanislavski y la secuencia de los 20 movimientos y la trasposición de la pedagogía de Lecoq. Como resultado, el entrenamiento físico, la neutralidad, la escucha y la trasposición de los principios de los 20 movimientos generan estados internos que ayudan al actor a afianzar el compromiso psicofísico con las acciones físicas propuestas en el trabajo analítico y las circunstancias dadas en una obra.

Made available in DSpace on 2016-12-08T16:52:05Z (GMT). No. of bitstreams: 1 PABLO.pdf: 753020 bytes, checksum: c44d2dd10eb4b95a1abd5b26cbbd61fd (MD5) Previous issue date: 2008-08-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The essay presented here investigates the construction of the Physical Actions according to Russian actor, director and educationalist Konstantin Stanislavski, through the perception-imagination-adaptation triad, considering that these three properties of the human being are of fundamental importance for the actor's work. The research aims to create a compilation of Stanislavski's life and work, and how he arrived at his theory of the Physical Actions, always looking for true and organic acting, having as a goal the emotion of the actor. Therefore, part of this study is a profound investigation of the laws of man in action - applied by Stanislavski and, here, correlated to each of the three properties; as well as the last great contribution of the Russian scholar to the theatrical arts: the active analysis, which encompasses the laws, the physical action and the other elements of his System. The Russian master, at the end of his studies, leaves as his legacy, the distinct idea that the physical action is only the path to creation, which gives the actor the possibility of penetrating his or her own subconscious and being moved. To Stanislavski, it is through a series of actions performed by the actor that the public can see emotion run through the scene / O trabalho aqui apresentado procura investigar como se dá a construção das ações físicas, segundo o ator, diretor e pedagogo russo Konstantin Stanislávski, através da tríade percepção-imaginação-adaptação, tendo em vista que essas três faculdades do ser humano são de fundamental importância para o trabalho do ator. A pesquisa visa a fazer um apanhado geral sobre a vida e a obra de Stanislávski, e como ele chegou à questão da ação física, buscando sempre uma atuação verdadeira e orgânica, tendo como fim a emoção do ator. Nesse sentido, fazem parte do trabalho uma investigação aprofundada sobre as leis do homem em ação - postuladas por Stanislávski e, aqui, relacionadas a cada uma das três faculdades - e a última grande contribuição do pesquisador russo à arte teatral: a análise ativa, que engloba as leis, a ação física e os demias elementos do Sistema. O mestre russo, ao fim de seus estudos, lega-nos a primorosa idéia de que a ação física é apenas um meio para a criação, que possibilita ao ator penetrar no seu próprio subconsciente e emocionar-se. Para Stanislávski, é através de uma série de ações realizadas pelo ator que o público pode ver a emoção percorrendo a cena

Made available in DSpace on 2016-12-08T16:52:09Z (GMT). No. of bitstreams: 1 laedio.pdf: 1928778 bytes, checksum: 517cc5b1e67ad609534e5970f8233042 (MD5) Previous issue date: 2011-08-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper discusses the process of the artistic training described in Theater Directing from the perspective of the Active Analysis Method. The method was developed in Russia by Konstantin Stanislavsky (1863-1938) and transmitted by one of his students, Gueorgui Tovstonógov (1915-1989) to Nair Dagostini (19_ _), the first Brazilian to study at the State Institute of Theater, Film and Music Leningrad (1978-1981). The learning reverberates in the Course of Direction and Theatre Interpretation of the Federal University of Santa Maria / RS in the period of 1994-2004, during this time it was possible for her to apply some of the methods of the paradigm found in the USSR. The Educational Policy Plan which Dagostini helped to formulate was built on a common ground for actors and directors and the Active Method of Analysis held the post of unifying center of the process of education and training of the artist. The approximation of the method was given gradually over the first three semesters and was still being applied as a methodology for implementation of the transposition of the text to the scene during graduation. Active Analysis via the Method of Physical Action - that enables the acquisition and mastery of the elements of the Stanislavski System - provides the lead actor in the director route to achieving the central idea of the work that is assembled by inserting the actor on the world of the play and unfolding through the action proposed by the circumstances given the intimacy of the relationships established by the author, what's behind the words / Este trabalho trata do processo de formação artística em Direção Teatral descrito da perspectiva do Método da Análise Ativa. O Método foi desenvolvido na Rússia por Konstantin Stanislávski (1863-1938) e transmitido por um de seus alunos, Gueorgui Tovstonógov (1915-1989) à Nair Dagostini (19_ _ ), primeira brasileira a estudar no Instituto Estatal de Teatro, Cinema e Música de Leningrado (1978-1981). Seu aprendizado reverbera no Curso de Direção e Interpretação Teatral da Universidade Federal de Santa Maria/RS no período de 1994-2004, tempo durante o qual pode aplicar algumas das metodologias do paradigma que encontrou na URSS. O Plano Político Pedagógico que Dagostini ajudou a formular foi construído sobre uma base comum para atores e diretores e o Método da Análise Ativa ocupou o lugar de centro unificador do processo de educação e formação do artista. A aproximação ao Método se dava gradualmente ao longo dos três primeiros semestres e continuava sendo aplicado como metodologia para a concretização do processo de transposição do texto para a cena durante a graduação. A Análise Ativa, por intermédio do Método das Ações Físicas que possibilita a aquisição e domínio dos elementos do Sistema Stanislávski faculta o diretor conduzir o ator no percurso de concretização da ideia central da obra que se monta, inserindo o ator no universo da peça e desvendando através da ação proposta pelas circunstâncias dadas a intimidade das relações estabelecidas pelo autor, o que está por detrás das palavras

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1 ABSTRACT This thesis describes the theatre reform at the turn of 19th and 20th century in its wider sociocultural concept. It focuses on the reaction of theatre to the modernistic crisis of European culture and society. Modernism is understood here according to its wider thematic and chronological definition. Modernism is based on the conception of machine civilization as it was defined by a Polish sociologist Jerzy Jedlicki. Jedlicki places the rise of modernistic cultural formation into the second half of 18th century which is when a steam engine was invented and it was a time of social turbulence and changes in human spirituality. Another theoretical frame of the thesis is created by utopia phenomenon as it was defined by Jerzy Szacki. Second half of 20th century is considered to be the end of modernism, inasmuch the utopic visions which had been placed on theatre faded away. The main topic of the thesis is Juliusz Osterwa's and Mieczyslaw Limanowski's theatre studio Reduta. It was founded in Warsaw in 1919 and it was to a great extend inspired by Moscow theatre studios of Stanislavsky and by Polish theatre sources (Stanislaw Wyspianski). By studying selected examples, the thesis studies Reduta as a realisation of modernistic utopia when theatre was supposed to carry a special mission in renaissance of...