Stanislavskij znovukříšený. K duchovním kořenům jeho tvorby
| Authors | |
|---|---|
| Year of publication | 2013 |
| Type | Article in Periodical |
| Magazine / Source | Divadelní revue |
| Citation | |
| Keywords | Stanislavski, theatre, spirituality |
| Description | The article discusses the spiritual roots of the work of K. S. Stanislavski, which were reflected in the ideological orientation of MCHAT (Moscow Artistic Theatre) and its dramaturgy, while focusing specifically in Stanislavski’s system of acting. Besides Wagner’s idea of theatre-astemple the decisive role during the formative years of MCHAT was played by the Tolstoi movement, advocated by L. A. Sulerzhistski. The symbolistic, mystical dramaturgy of the beginning of the 20th century is typical of the reflections of the notions of the subconscious, conscious and superconscious, as used by Stanislavski, The yoga teaching and the texts by the American yoga master Ramacharaky influenced the formation of the concepts such as circle of attention, concetration, public solitude, emanation and manation. The philosophical texts by V. Solovyov are considered crucial for the understanding of the concept of “I am” („? ????“), and the related concepts of acting as experience and “supertask” (“svyerchzadatscha”). |