ABSTRACT

This article proposes overlapping intentions between Stanislavsky’s “system” and Mary Overlie’s Six Viewpoints. The comparison highlights the difference between the episteme, or the organization of “materials,” and the methods, exercises and techniques meant to outline them. The author discloses how this distinction inspired the assembly of the Crosspoints Acting System through practice-based research. As an acting system, Crosspoints integrates with other acting methods by way of introducing new metaphors and models for creating a role that are based on Archetypes. The practices of the Crosspoints include movement-based forms of improvisation called Image Studies and give actors imaginary, emotionally charged, embodied resources to call upon when a personal memory life-based circumstance may be too challenging or inappropriate. As a result, the combined lenses of Stanislavsky’s “system’, outlining the Mind, Will, and Feeling of the actor, and Overlie’s Viewpoints, suggesting a “horizontal” perspective in acting, give us an approach that is inductive and provides actors with virtual resources to contrast and support their real-life emotional resources. Crosspoints give actors open-ended ways to create on their own terms. As a tool for teaching, directing and rehearsing, they propose a way to model the conflict and emotional content of a scene outside the constraints of the narrative text which may shuttle historical and cultural biases.

摘要

本文提出了斯坦尼斯拉夫斯基的“体系”与玛丽·奥弗利的六个观点之间的重叠意图。比较突出了认识论或“材料”的组织与旨在概述它们的方法、练习和技术之间的差异。作者揭示了这种区别如何通过基于实践的研究激发了交叉点代理系统的组装。作为一个表演系统，Crosspoints 通过引入新的隐喻和模型来创建基于原型的角色，从而与其他表演方法相结合。Crosspoints 的实践包括基于动作的即兴创作形式，称为图像研究，并为演员提供想象的、情绪激动的、具体的资源，以便在基于个人记忆的生活环境可能太具有挑战性或不合适时调用。因此，斯坦尼斯拉夫斯基“系统”的组合镜头，概述了演员的思想、意志和感觉，以及 Overlie 的观点，暗示了表演中的“水平”视角，为我们提供了一种归纳的方法，并为演员提供了虚拟资源来对比和支持他们现实生活中的情感资源。交叉点为参与者提供了以自己的方式进行创作的开放式方式。作为教学、指导和排练的工具，他们提出了一种在叙事文本限制之外对场景的冲突和情感内容进行建模的方法，这可能会穿梭历史和文化偏见。给我们一种归纳的方法，并为演员提供虚拟资源来对比和支持他们现实生活中的情感资源。交叉点为参与者提供了以自己的方式进行创作的开放式方式。作为教学、指导和排练的工具，他们提出了一种在叙事文本限制之外对场景的冲突和情感内容进行建模的方法，这可能会穿梭历史和文化偏见。给我们一种归纳的方法，并为演员提供虚拟资源来对比和支持他们现实生活中的情感资源。交叉点为参与者提供了以自己的方式进行创作的开放式方式。作为教学、指导和排练的工具，他们提出了一种在叙事文本限制之外对场景的冲突和情感内容进行建模的方法，这可能会穿梭历史和文化偏见。