Constantin Stanislavski＇s Russian acting system, further developed by contemporary methodological practices, and Maurice Merleau-Ponty＇s philosophy of the body as object-subject are compared to illustrate how simple...Constantin Stanislavski＇s Russian acting system, further developed by contemporary methodological practices, and Maurice Merleau-Ponty＇s philosophy of the body as object-subject are compared to illustrate how simple, learned techniques can assist in the production of authentic and transparent interrelational presence. Authentic presence requires three components： （1） honest exposition of a person＇s singular, essential being; （2） empathy towards the needs of other, distinct and separate from the self; and （3） mutual reciprocation, which means giving back or responding somewhat equitably to the other with whom the self is in communication, and accepting the same respondence from the other if afforded. The comprehension of Merleau-Ponty＇s ontology combined with Stanislavski＇s performance technique is uniquely suited to interpersonal communications in the ＇real world＇. Stanislavski＇s artistic vision demands an intensity of attentive involvement in order to achieve onstage authenticity. Merleau-Ponty provides supportive philosophical schematics, especially in his controversial but effective use of the expression ＇flesh＇. While this study may initially appear to focus on the artist, the development of interrelational skills is reliably applicable to anyone who desires to obtain a higher degree of authenticity in collaborative presence.展开更多
We analyze the success of Konstantin Stanislavski＇s method of emotion memory in Western acting schools. We propose a path that, counter-intuitively, connects the emotional distress related to this method with an atta...We analyze the success of Konstantin Stanislavski＇s method of emotion memory in Western acting schools. We propose a path that, counter-intuitively, connects the emotional distress related to this method with an attachment to it. A chain of psychological steps explains this dynamic： the delegation of power from the actor to the director, emotional suffering during the training, rise of feelings within the dyad, and eventually rise of satisfaction. Our argument draws especially on interdisciplinary research on athlete-coach relationships in sports psychology while also suggesting wider application to educational psychology and psychotherapy.展开更多
文摘Constantin Stanislavski＇s Russian acting system, further developed by contemporary methodological practices, and Maurice Merleau-Ponty＇s philosophy of the body as object-subject are compared to illustrate how simple, learned techniques can assist in the production of authentic and transparent interrelational presence. Authentic presence requires three components： （1） honest exposition of a person＇s singular, essential being; （2） empathy towards the needs of other, distinct and separate from the self; and （3） mutual reciprocation, which means giving back or responding somewhat equitably to the other with whom the self is in communication, and accepting the same respondence from the other if afforded. The comprehension of Merleau-Ponty＇s ontology combined with Stanislavski＇s performance technique is uniquely suited to interpersonal communications in the ＇real world＇. Stanislavski＇s artistic vision demands an intensity of attentive involvement in order to achieve onstage authenticity. Merleau-Ponty provides supportive philosophical schematics, especially in his controversial but effective use of the expression ＇flesh＇. While this study may initially appear to focus on the artist, the development of interrelational skills is reliably applicable to anyone who desires to obtain a higher degree of authenticity in collaborative presence.
文摘We analyze the success of Konstantin Stanislavski＇s method of emotion memory in Western acting schools. We propose a path that, counter-intuitively, connects the emotional distress related to this method with an attachment to it. A chain of psychological steps explains this dynamic： the delegation of power from the actor to the director, emotional suffering during the training, rise of feelings within the dyad, and eventually rise of satisfaction. Our argument draws especially on interdisciplinary research on athlete-coach relationships in sports psychology while also suggesting wider application to educational psychology and psychotherapy.
