Stanislavsky and Screen Actor Training: (Stanislavsky And...)

Stanislavsky and Screen Actor Training is a collection of essays mapping the acting field’s current engagement with Stanislavsky practices and concepts for training in the screen industries across continents. This edited volume collates the efforts of teachers of screen acting to identify, investigate, articulate, document, and disseminate Stanislavsky-inspired practical tools for actor training for the screen. Providing reflections from instructors and teachers of acting for the screen, it interrogates the ways in which the actor’s craft affects cinematic processes and experiences through the lens of Stanislavskian methods. Part one looks at the ways in which Stanislavsky’s concepts can be applied within the screenacting studio. Then, part two moves on to investigate the process of active analysis within the studio. Part three presents ways in which Stanislavsky’s methodologies can be adapted for the screenacting process. Finally, part four looks at Stanislavsky-inspired pedagogical innovations for training screen actors. Support material for this book is available at www.routledge.com/9781032986081

Table of Contents:
Introduction A. Positioning The Anthology Within Contemporary Screen Actor Training B. Stanislavsky on Cinema and Film Acting Part 1: Stanislavsky’s concepts in the screen acting studio 1. Visualization: Stanislavsky and Rosenstein on Fostering Imagination and Concentration 2. “Fragmented” Radiation [Izlucheniya] for Camera 3. Accessing Stanislavsky’s state of ‘experiencing’ [Perezhivanie] for the screen actor 4. Presence [Prisutstviye] Without Rehearsal: States of Being in Daily Television Production Part 2: Active Analysis in the screenacting studio 5. Prompting Inner Monologue through Active Analysis 6. Embodying Active Analysis and Inner Monologue for the Screen 7. Reimagining Active Analysis: Cultivating Spontaneous Actor Responses for the Screen Part 3: Adapting Stanislavsky for screenacting processes 8. Exploring Internal vs. External Tempo-Rhythm: Live-Editing in Screen Acting Training 9. The Film Actor Prepares with Michael Chekhov and SynthAnalysis™ 10. In-Camera Études: Delivering Purposeful, Precise, and Readable Performances in Every Take Part 4: Pedagogical Innovations Inspired by Stanislavsky 11. Discovering Sensorial Shakespeare Through Language and Focal Points 12. Bridging Practices: Enhancing Mike Leigh’s Method Through Stanislavsky’s Tools 13. Ethnoacting in VR for Resilience in Screen Actors: a Vakhtangov-inspired intervention Index

About the Author :
Evi Stamatiou is a practitioner-researcher of actor training, bringing two decades of international experience as an actor and creative. She is a Senior Lecturer in Acting for Stage and Screen at the University of East London and holds a PhD from The Royal Central School of Speech and Drama, University of London, UK. A recipient of multiple awards and research grants, she is also a Senior Fellow of the Higher Education Academy and currently serves as Chair of the Acting Focus Group at the Association for Theatre in Higher Education and board member of the Stanislavsky Research Centre. Evi’s interdisciplinary work bridges acting with technology, education, psychology, and health sciences—advancing inclusive actor training and exploring the broader applications of acting in human development. Sharon Marie Carnicke is best known for her groundbreaking study, Stanislavsky in Focus. Her other books include the recent Dynamic Acting through Active Analysis, Anton Chekhov: 4 Plays and 3 Jokes, and Checking out Chekhov. She has also published widely on screen performance and co-authored Reframing Screen Performance with Cynthia Baron. As a teacher of acting, she has conducted many intensive workshops on Active Analysis in the US, Europe, and Scandinavia. She is currently a professor of Dramatic Arts and Slavic Studies at the University of Southern California, USA, and founder of the Stanislavsky Institute for the 21st century.