ABSTRACT
This book rediscovers a spiritual way of preparing the actor towards experiencing that ineffable artistic creativity defined by Konstantin Stanislavski as the creative state.
Filtered through the lens of his unaddressed Christian Orthodox background, as well as his yogic or Hindu interest, the practical work followed the odyssey of the artist, from being oneself towards becoming the character, being structured in three major horizontal stages and developed on another three vertical, interconnected levels. Throughout the book, Gabriela Curpan aims to question both the cartesian approach to acting and the realist-psychological line, generally viewed as the only features of Stanislavski’s work.
This book will be of great interest to theatre and performance academics as well as practitioners in the fields of acting and directing.
TABLE OF CONTENTS
chapter |13 pages
Introduction
part I|105 pages
Theoretical reflections
chapter 1|15 pages
PAR methodology and the main research questions
chapter 2|16 pages
Framing concepts for Stanislavsky’s notion of “creative state”
chapter 3|14 pages
Humanism, spirituality, religion
chapter 4|18 pages
Stanislavsky’s concept of “nature” and the occult
chapter 5|19 pages
Spiritual principles
chapter 6|21 pages
From spiritual to creative principles
part II|137 pages
Practical explorations