Stanislavsky from the outside : networking and re-working the self

Abstract

The paper presents an outsider’s perspective on aspects of Konstantin Stanislavsky’s approach, specifically with reference to the fundamental notion of the actor’s work on the self. Although not directly influenced by his practice, the author’s specialization in physical theatre was shaped in Stanislavsky’s shadow. Accordingly, the paper adopts the ripple effect metaphor to exemplify the impact of Stanislavsky beyond his immediate geographical, historical, and aesthetic circles of influence. Starting off with a personal anecdote by the author about a movement-based exercise, Stanislavsky’s work upon the self is identified as a key formative element that is then highlighted in the context of resonances between aesthetic and athletic processes, mainly by the proposal of a via athletae (way of the athlete). Described as a modality of performing that is not based on a specific technique or method but on the qualitative intensity of psychophysical commitment, via athletae is manifested through three main characteristics: play, collaborative competitiveness, and pacing. The interplay of aesthetic and athletic dynamics in via athletae serves to defamiliarize Stanislavsky’s work on the self, which is further problematized by the concept of bodyworld that emphasizes the interconnectedness of the performer with the material world. Viewing the self via the 3As of bodyworld (i.e. assemblages, affordances, and actants) leads to the re-reading of Stanislavsky’s maxim about self-work as a networking and a re-working of oneself in the context of epistemic actions and secondary tasks (both offering insights on scaffolded intentionality) as well as choking, stage fright, and active distraction.