Bertolt Brecht and Constantin Stanislavski are regarded as two of the most influential practitioners of the no. century, both with strong opinions and intellections ab out(a) the function of the planetary house and the actors within it. Both theories are considered useful and are used throughout the world as a means to achieve a good piece of theatre. The fact that both are so well respected is probably the only obvious similitude as their work is almost of complete opposites. Stanislavski was born in 1863 to a wealthy family who loved amateur theatricals. In 1898 he met Vladimir Nemirovich-Danchenko and they founded the Moscow Art Theatre. Stanislavskis work is centred on the notion that playing should be a total sustenancelike expression of what is cosmos imitated. With regards to the grapheme of the theatre, and of it audience, Stanislavski viewed theatre as a means of artistically expressing things, and that the audiences single-valued function was to look in on t he action on the stage. He favoured the idea of the fourth wall which divide the audience and the actors, to re- gain total realism on the stage. He motiveed the audience to feel the pain or joy of the actor, and that ceremonial occasion a performance would have brought out a tonus of empathy.
Stanislavski believed in ensemble acting and wanted to take theatre away from the idea of having a star, to create as beloved to naturalism as possible. Bertolt Brecht was born in 1898, thirty-five long time after Stanislavski, in Augsburg to a paper-mill managing director. His life was spent pitiful from country to cou ntry, fleeing from Nazi forces and other po! licy-making pressures. In 1949 Brecht and Helene Weigel founded the Berliner Ensemble, which in 1990 (thirty-four years after Brechts death) was transformed into a public community with an enormous city subsidy and a... If you want to get a full essay, order it on our website:
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