With insight into key pedagogical approaches of theatre training, an understanding of research regarding common psychological characteristics of actors and awareness of identified parallels between arts entrepreneurship and acting course content, arts entrepreneurship instructors can, in their classrooms, increase the likelihood of relating to acting students and subsequently, leverage their students’ inherent and developed skills. Research-based psychological characteristics of actors are offered, as are suggestions to appeal to actors’ general sensibilities (and how they may wish to be engaged). The Stanislavski System is the most popular approach to actor training; its critical structural components are discussed in addition to various o...
This vocal training method research is an interpretation of Stanislavski's acting method. This study...
Understanding Stanislavskian practice in the UK conservatoire is a complex task for at least three r...
Konstantin Stanislavski points out that emotions are like wild animals that can only be lured rather...
An artist’s creative work can become the primary lens through which he or she sees the world; it is ...
Framed by the praxis of the workshop and rehearsal processes of ‘Awkward’, this research aims to unc...
ABSTRACT Following Stanislavski who argues that emotions are wild animals that can only be lured, r...
The article examines an important problem of modern education – the use of theatre arts to improve t...
The purpose of the article is to identify the special features of acting training of one of the lead...
A previous article for Stanislavski Studies (Vol. 4, No 1, 47-62) explored and examined the impact o...
In Stanislavskij’s method, emotions are produced through body actions, where the body is the custodi...
This paper explores the fields of actor training and music education in order to illuminate the hist...
This study explores how the traditional techniques of Konstantin Stanislavski and the innovative m...
In a B.A. Stanislavsky-based actor-training course progression, students are usually exposed to text...
This article examines how notions of artistic truth and authenticity articulated by Konstantin Stani...
The purpose of the research is to identify the areas of concern of the Stanislavsky system, upon whi...
This vocal training method research is an interpretation of Stanislavski's acting method. This study...
Understanding Stanislavskian practice in the UK conservatoire is a complex task for at least three r...
Konstantin Stanislavski points out that emotions are like wild animals that can only be lured rather...
An artist’s creative work can become the primary lens through which he or she sees the world; it is ...
Framed by the praxis of the workshop and rehearsal processes of ‘Awkward’, this research aims to unc...
ABSTRACT Following Stanislavski who argues that emotions are wild animals that can only be lured, r...
The article examines an important problem of modern education – the use of theatre arts to improve t...
The purpose of the article is to identify the special features of acting training of one of the lead...
A previous article for Stanislavski Studies (Vol. 4, No 1, 47-62) explored and examined the impact o...
In Stanislavskij’s method, emotions are produced through body actions, where the body is the custodi...
This paper explores the fields of actor training and music education in order to illuminate the hist...
This study explores how the traditional techniques of Konstantin Stanislavski and the innovative m...
In a B.A. Stanislavsky-based actor-training course progression, students are usually exposed to text...
This article examines how notions of artistic truth and authenticity articulated by Konstantin Stani...
The purpose of the research is to identify the areas of concern of the Stanislavsky system, upon whi...
This vocal training method research is an interpretation of Stanislavski's acting method. This study...
Understanding Stanislavskian practice in the UK conservatoire is a complex task for at least three r...
Konstantin Stanislavski points out that emotions are like wild animals that can only be lured rather...