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In Search of Stanislavsky’s Creative State on the Stage: With a Practice as Research Case Study

Preface Acknowledgments I: Theoretical reflections PAR methodology and the main research questions Methodology What was lost in translation?Notes Bibliography Framing concepts for Stanislavsky's notion of "creative state": From Orthodox Faith to Eastern thought Orthodox roots Oriental influences Notes Bibliography Humanism, spirituality, religion The Soviet censorship Realism or spirituality?Notes Bibliography Stanislavsky's concept of "nature" and the occult German Romanticism, alchemy, and Eastern influences The alchemical art: traditional science Stanislavsky's alchemical processes Kabbalah and the symbolic ladder Notes Bibliography Spiritual principles Orthodox spirituality The "soul" concept The heart and the creative "I"The "self" between psychology and spiritual thought Morality and ethics Incarnation versus embodiment Notes Bibliography From spiritual to creative principles The superconscious The superconscious creative state The art of experiencing and the creative state The divided consciousness Notes Bibliography II: Practical explorations: A practice as research case study From theory to practice - levels of work The first level of work: creating the atmosphere The second level: meditation - an underlying principle of breath The third level: the elements of the "system"Notes Bibliography The first stage of the practice - "an actor's work on their self": A basic understanding of the elements Concentration, attention, and will The "Mirror" exercise Exploring concentration with the "Cross"Pranic communication Subtle communication in practice Notes Bibliography The second stage - an actor's work on their role Understanding the "I am" element From concentrating to being: practicing "I am" with "Ages"Practicing "I am" with the "Tree"Notes Bibliography "Becoming" the character Emotion memory The magic "if", "given circumstances", and "imagination"Action and Stanislavsky's fundamental questions Rediscovering the spiritual (inner) action Notes Bibliography Rehearsing with Active Analysis The Method of Active Analysis Introducing the text Testing "imagination" by means of Active Analysis The étude of the scene before the scene The last element of the "system" - the supertask Bringing the supertask to light Notes Bibliography The third stage - performing as a state of being Artistic and technical challenges Experiencing the creative state during practice The creative state in rehearsals Outcome: impact and evidence Challenges and definitions Future learning and the necessary mindset Notes Bibliography

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Framing concepts for Stanislavsky's notion of "creative state": From Orthodox Faith to Eastern thought
As Stanislavsky states, the very purpose of the whole “system” “must serve as a threshold into the creative state, and one must learn to open, not close the door”.1'2 In other words, this creative state, or “inner creative state”, helps the “actor to become a creator rather than an imitator...
(In Search of Stanislavsky’s Creative State on the Stage: With a Practice as Research Case Study)
The superconscious creative state
Demidov seems to equate highly inspired moments of artistic creativity on the stage with what he calls “flashes of enlightenment”.45 He feels compelled to interrogate his students: “haven’t you ever seen these flashes of enlightenment, when all of a sudden, you got this inkling - that’s ‘IT’...
(In Search of Stanislavsky’s Creative State on the Stage: With a Practice as Research Case Study)
The art of experiencing and the creative state
One of the Stanislavskian key terms is “experiencing”, that is to say, “the core, the bedrock, the alpha and the omega, the absolute essential element of Stanislavsky’s approach” is “the belief in experiencing”.73 As Gillett explains: [...] the crucial thing for experiencing is creating...
(In Search of Stanislavsky’s Creative State on the Stage: With a Practice as Research Case Study)
Experiencing the creative state during practice
To return to the main questions addressed by my research regarding how the creative state might be made more accessible to the actor, over the years, it became clear that acquiring skills only through a realist-psychological acting technique that moves away from any possible spiritual perspective, might...
(In Search of Stanislavsky’s Creative State on the Stage: With a Practice as Research Case Study)
The creative state in rehearsals
In spite of the fortunate beginning noted above, we also experienced some significant times of struggle, especially during the second stage of the practice. When we started to put together all the études developed for the first scene of the adaptation, the rehearsals were no longer going very well....
(In Search of Stanislavsky’s Creative State on the Stage: With a Practice as Research Case Study)
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What state is there for those ‘without paper or pencil’? A case study of women and identification in North Cameroon
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