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

PrefaceAcknowledgmentsI: Theoretical reflectionsPAR methodology and the main research questionsMethodologyWhat was lost in translation?NotesBibliographyFraming concepts for Stanislavsky's notion of "creative state": From Orthodox Faith to Eastern thoughtOrthodox rootsOriental influencesNotesBibliographyHumanism, spirituality, religionThe Soviet censorshipRealism or spirituality?NotesBibliographyStanislavsky's concept of "nature" and the occultGerman Romanticism, alchemy, and Eastern influencesThe alchemical art: traditional scienceStanislavsky's alchemical processesKabbalah and the symbolic ladderNotesBibliographySpiritual principlesOrthodox spiritualityThe "soul" conceptThe heart and the creative "I"The "self" between psychology and spiritual thoughtMorality and ethicsIncarnation versus embodimentNotesBibliographyFrom spiritual to creative principlesThe superconsciousThe superconscious creative stateThe art of experiencing and the creative stateThe divided consciousnessNotesBibliographyII: Practical explorations: A practice as research case studyFrom theory to practice - levels of workThe first level of work: creating the atmosphereThe second level: meditation - an underlying principle of breathThe third level: the elements of the "system"NotesBibliographyThe first stage of the practice - "an actor's work on their self": A basic understanding of the elementsConcentration, attention, and willThe "Mirror" exerciseExploring concentration with the "Cross"Pranic communicationSubtle communication in practiceNotesBibliographyThe second stage - an actor's work on their roleUnderstanding the "I am" elementFrom concentrating to being: practicing "I am" with "Ages"Practicing "I am" with the "Tree"NotesBibliography"Becoming" the characterEmotion memoryThe magic "if", "given circumstances", and "imagination"Action and Stanislavsky's fundamental questionsRediscovering the spiritual (inner) actionNotesBibliographyRehearsing with Active AnalysisThe Method of Active AnalysisIntroducing the textTesting "imagination" by means of Active AnalysisThe étude of the scene before the sceneThe last element of the "system" - the supertaskBringing the supertask to lightNotesBibliographyThe third stage - performing as a state of beingArtistic and technical challengesExperiencing the creative state during practiceThe creative state in rehearsalsOutcome: impact and evidenceChallenges and definitionsFuture learning and the necessary mindsetNotesBibliography
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