ABSTRACT

In this article, we are looking for ways of congruence between Konstantin Stanislavsky’s Method of Active Analysis and Nikolai Demidov’s School, theoretically observing similarities, while also concentrating on some major differences, such as the complete initial lack of given circumstances for études in Demidov or the inceptive use of improvised speech as opposed to the given text in Stanislavsky. During one of their last encounters, Demidov shared with Stanislavsky his own thoughts related to the shortcomings of teaching the “system”, while arranging a demonstration of his own latest discoveries. Apparently, Stanislavsky, who was previously against Demidov’s desire to train students/actors differently, was positively surprised when witnessing the results of this new approach. Although both practitioners might have thought that a combination between the two techniques could provide a new path for the actor, probably due to Stanislavsky’s health problems, such an endeavour never came to fruition. Therefore, as a prerequisite of a practical research project, briefly analysing both paths, this article aims to delineate ways towards finding out whether they can be merged into a single one and how this could be used as a brand-new rehearsing technique.

摘要

在这篇文章中，我们正在寻找康斯坦丁·斯坦尼斯拉夫斯基的主动分析方法与尼古拉·杰米多夫学派之间的一致性，在理论上观察相似之处，同时也关注一些主要差异，例如杰米多夫的练习曲最初完全缺乏给定的环境或与斯坦尼斯拉夫斯基的给定文本相反的即兴演讲的初步使用。在他们最后一次见面中，杰米多夫与斯坦尼斯拉夫斯基分享了他自己对“系统”教学缺点的看法，同时安排了他自己最新发现的演示。显然，之前反对杰米多夫希望以不同方式训练学生/演员的斯坦尼斯拉夫斯基在目睹这种新方法的结果时感到非常惊讶。尽管两位从业者可能都认为这两种技术的结合可以为演员提供一条新的道路，可能是由于斯坦尼斯拉夫斯基的健康问题，但这种努力从未实现。因此，作为实际研究项目的先决条件，简要分析这两种路径，本文旨在描绘出如何将它们合并为一个，以及如何将其用作一种全新的排练技术。