What is Experientialism? What are the main representatives of the experiential school ?

Hello classmates. 1. The proposer and advocate of the experiential school is Stanislavsky, a famous actor, director, theater educator and theorist in the former Soviet Union, and a reformer of stage art. The Stanislavsky system is only a systematic and scientific exposition of the laws of the performing arts.

The essence of the Si system is to embody the "nature" of human beings: it requires the actor not to seem to exist on the stage, but to really exist on the stage, not in performance, but in life. An actor should always be a living person on the stage, abide by the logic and organic laws of life, and sincerely feel, think, and act in the prescribed situation.

For example, when you play an old man on stage, you can't really be an old man, then you can only observe and understand an old man from life. Observe his movements, such as his sluggish body, his eyes can't see clearly, his ears can't hear clearly, or his joints are not sensitive, to understand how his physical problems are formed, whether they are simply formed by age or overfatigue when he was young, what his temperament is like, why it is like this is the environment in which he grew up or what he has experienced. After understanding this, you can replace yourself with the identity of this old man, experience and feel everything about him, and then interpret it with feeling, rather than simply imitating this old man's actions.

This is Stanislavsky's experiential performance system.

Experiential school is one of the schools of performing arts. It is advocated that actors should take the initiative to feel the emotions of the characters and turn their emotions into a part of art. Actors should have a "double consciousness".

Not only do you have to feel the character's emotions over and over again when performing, but you also feel them more or less every time you play the role.

The difference between methodology and experience is that the actor must make himself a character, and he should think about what the character thinks on the stage, think about what the character thinks, and strive to enter the character, and then show the emotion of the character. Methodism is a continuation and supplement of experientialism, and its core idea is still the core of experientialism.

Methodism is that the actor should really think on stage, and emotions explode by triggering their own experiences, rather than trying to align their thoughts with the character.

That is to say, it is not to directly let yourself enter the character to figure out the mood of the character, but to bring it back to the character by invoking the explosion of your own inner emotional expression, not limited to the mechanical interpretation of the character, and from your own emotions can naturally lead to a series of highly creative performances. The performances trained by the methodology are known for being delicate, real, concise, and full of emotion.

Experiential analysis

The basic point of view of the experiential school is that the actor cannot only perform with his own body and voice, but must invest his thoughts, hearts and feelings. A person who is cold and lacks enthusiasm will not make a good actor. For actors, the most important thing is the tempering of life, an actor who has experienced the vicissitudes of life, has deep life experience, and has experienced the ups and downs of life, joys, sorrows, and sorrows, his actual life experience is the great wealth of his performance.

Experiences are not an end in themselves, and they cannot be experienced for the sake of experiences. The purpose of experiencing the thoughts and feelings of the characters is to achieve the fullness, truthfulness and strong appeal of the performance, and the inner activities of the characters should ultimately be expressed accurately, distinctly and meticulously so that the audience can feel it. Acting opposes inner emptiness, opposes pretentious expressions without full inner feelings, which is called "performing emotions", but it should not be mistakenly thought that it is enough to experience thoughts and feelings, and there is no need to pay attention to its performance.

What are the main generation of the "experience school" (or Qingshu) aHenry Owen.

b.Stanislavsky.

c.Salvini shirter.

d.Meyerhold.

Correct answer: ABC