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Acting & Actor Training

Psychophysical Acting

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As part of his research into the nature and processes of performance, Stanislavsky invented the term ‘psychophysical’ to describe acting focussed equally on the actor’s psychology and physicality.


00:50:09
Smelianski Interview - Asset Image Thumbnail
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In which Prof. Smeliansky outlines the importance of Stanislavsky’s work in the history of Russian theatre, including Stanislavsky’s relation to Chekhov, Gordon Craig, Meyerhold and others.
00:05:46
CoNCrEte
Video
CoNCrEte (2009)  screendance reveals how the environment affects our emotions and ever-changing lived experience. 
00:14:10
freedom (2008)
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Walking Gusto Productions explores the marginalised and disempowered female voices of South Africa by using the body as a “site of resistance”
00:12:29
Structured Improvisation - Impro Maids - Image Asset Thumbnail
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Zarrilli’s Psychophysical Acting methodology focuses on the relationship between the actor-as-doer and what the actor does. It (re)examines in practice and theory a psychophysical approach to acting.
00:20:26
Appendix - Zarrilli - Image Asset Thumbnail
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Zarrilli’s Psychophysical Acting methodology focuses on the relationship between the actor-as-doer and what the actor does. It (re)examines in practice and theory a psychophysical approach to acting.
00:23:37
Benedetti Interview - Asset Image Thumbnail
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This interview sees Jean Benedetti discussing some of the main precepts of Stanislavsky’s work, including Stanislavsky’s relation to Chekhov, Shchepkin, Meyerhold and others.
00:33:39
Pre-performative Training - Kalarippayattu - Image Asset Thumbnail
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Zarrilli’s Psychophysical Acting methodology focuses on the relationship between the actor-as-doer and what the actor does. It (re)examines in practice and theory a psychophysical approach to acting.
00:26:11
Konstantin Stanislavski. After My Life in Art, Part 3: The Return
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The third episode of After My Life in Art, originally broadcast by The Culture Channel, Russia
00:26:08
Konstantin Stanislavski. After My Life in Art, Part 4: The System
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The fourth episode of After My Life in Art, originally broadcast by The Culture Channel, Russia
00:26:14
Life in Art Thumb
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The fifth episode of After My Life in Art, originally broadcast by The Culture Channel, Russia
00:26:12
Chekhov 3
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A film about Michael Chekhov. Part one covers his early years, family, upbringing, drama school and the beginning of his acting career at the Moscow Art Theatre.
00:09:26
Zarrilli
Video
Zarrilli’s Psychophysical Acting methodology focuses on the relationship between the actor-as-doer and what the actor does. It (re)examines in practice and theory a psychophysical approach to acting.
00:03:07
Sequence 1 ‘Introduction to the Narrative company’
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This video is an introduction to the company of Anthony Neilson’s Royal Court show Narrative in 2013: Anthony Neilson; Zawe Ashton; Imogen Doel; Brian Doherty; Christine Entwisle; Barney Power; Olly Rix and Sophie Ross.
00:18:17
Sequence 10 B ‘Onomastic authorship’
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This video provides a window into other aspects of Neilson’s authorial propensities via a snapshot of rehearsal room discussion concerning what to name the characters in the show.
00:02:50
Sequence 10 ‘Authorship of an audition: the Footmouse Dance’
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This video shows how Neilson authors and develops his script in the moment during rehearsals. This process occurs as actors Barney Power and Zawe Ashton work on a scene where Power’s character is humiliated while attending an advert audition conducted by Ashton’s maliciously bored character.
00:18:44
Sequence 11 B ‘Affective memory in operation’
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This video clip shows actor Zawe Ashton employing the Affective Memory rehearsal technique while running a scene with actor Olly Rix.
00:01:55
Sequence 11 ‘The Box Therapy improvisation’
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This video features Neilson and actors Zawe Ashton and Christine Entwisle’s work on developing a newly-written scene in which Ashton’s character attends an unconventional counselling appointment. It contains excerpts of discussion, as well as a full-length improvisation where Ashton’s head is masked by a cardboard box.
00:03:02
Sequence 12 ‘The Random Objects improvisation’
Video
This video is the first time the company run the improvisation concerning the arbitrary items found in the rehearsal space.
00:02:23
Sequence 13 ‘The actors discuss Box Therapy’
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In this video actors Christine Entwisle and Zawe Ashton discuss the Box Therapy improvisation.
00:07:05
Sequence 14 ‘Box Therapy in performance’
Video
In this video Anthony Neilson, Christine Entwisle and Zawe Ashton finalise the performance of the therapy session during the technical rehearsal in the Jerwood Theatre Upstairs at the Royal Court.
00:01:30
Sequence 15 ‘Perspectives on improvisation’
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Anthony Neilson and Brian Doherty talk about Neilson’s use of improvisation in his rehearsal process in this video.
00:11:10
Sequence 16 ‘The Human Soundscape Improvisation’
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In this video the whole company conduct an improvisation run by music and sound designer Nick Powell. During the improvisation the participants attempt to create a multi-layered vocal score by splicing together various random sounds articulated by individual company members.
00:03:35
Sequence 17 ‘Perspectives on Neilson’s directorial approach’
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Anthony Neilson, Brian Doherty and Christine Entwisle discuss features of Neilson’s methodology as a director.
00:24:35
Sequence 18 B ‘What did you expect’
Video
This video shows the similarities between the beginning and the end of Narrative.
00:01:02
Sequence 18 ‘Ask the Audience: the ending of the show’
Video
This video contains rehearsal room footage of the company discussing the idea of having some kind of audience participation as the ending to Narrative. Then the video moves to the technical rehearsal in the Jerwood Theatre Upstairs at the Royal Court, where Neilson directs a different way of concluding the show.
00:03:56
Sequence 19 ‘Perspectives on process’
Video
In this video Anthony Neilson, Imogen Doel and Sophie Ross discuss the interaction between the actor’s process and Neilson’s directorial/authorial approach.
00:06:25
Sequence 2 ‘Perspectives on the pro-filmic event’
Video
In this video the assistant director of Narrative, Ned Bennett, and actors Brian Doherty, Zawe Ashton, Sophie Ross, Barney Power and Olly Rix, discuss the effects of being filmed while rehearsing the show. Then the video moves into the rehearsal room, where Rix is running a scene from the play.
00:08:09
Sequence 20 ‘Neilson’s Motivational Speech’
Video
In this video the Narrative company have come to the end of the rehearsal period. Here Neilson discusses with the cast how the following week-long technical rehearsal will be conducted and attempts to allay any concerns they may have about the forthcoming opening and subsequent run of the show.
00:11:15
Sequence 21 ‘Changes for Press Night’
Video
This video contains footage of the note session before Press Night where Neilson introduces an entirely new scene to be performed by actors Imogen Doel and Zawe Ashton that evening. The video then shows the only rehearsal of the scene before the performance.
00:03:28
Sequence 3 ‘A different perspective’
Video
In this video actress Christine Entwisle talks about her experience of being filmed rehearsing her role in Narrative. The video then shows the impact Entwisle discusses, during the technical rehearsal in the Jerwood Theatre Upstairs at the Royal Court.
00:12:01
Sequence 4 ‘Indirect authorship: synaesthesia’
Video
Anthony Neilson considers how actors can influence the authorship of his work in this video. Then the video moves to the rehearsal room where the Narrative company throw various ideas around concerning how one of the characters being out of sync with reality can be theatrically rendered.
00:04:14
Sequence 5 ‘Revisiting the Random Objects Improvisation’
Video
This is a video of the Narrative company’s second discussion and running of an improvisation using some chance items found in the rehearsal room.
00:12:20
Sequence 6 ‘Indirect authorship: malapropisms’
Video
In this video the company and music and sound designer, Nick Powell, continue to explore the ways in which the character being out of sync with reality can be theatrically rendered. The footage then proceeds to show how this idea is audio-visually represented for the on-stage performance.
00:05:54
Sequence 7 ‘Everything feeds in’
Video
In this video Anthony Neilson, assistant director Ned Bennett and the actors Imogen Doel, Sophie Ross, Barney Power and Christine Entwisle, reflect on the tangential properties of Neilson’s authorial process.
00:03:11
Sequence 8 ‘Direct authorship: Elastic-Man’
Video
This video shows the authorial input of actor Olly Rix, as he works on a speech in the rehearsal room and then during the technical rehearsal at the Jerwood Theatre Upstairs at the Royal Court.
00:02:25
Sequence 9 ‘How the actor shapes the text’
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Anthony Neilson and actors Olly Rix, Brian Doherty and Imogen Doel give their views on the connection between the actor and Neilson’s authorship in this video.
01:32:16
Smeliansky lecture asset thmb
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The Stanislavski Centre Annual Lecture sees a major international figure lecturing based upon their own expertise in the field of Stanislavsky studies every year – in this case, Anatoly Smeliansky.
00:18:08
Performance Case Studies - Beckett Project - Asset Image Thumbnail
Video
Zarrilli’s Psychophysical Acting methodology focuses on the relationship between the actor-as-doer and what the actor does. It (re)examines in practice and theory a psychophysical approach to acting.
Practitioner
Michael Chekhov was a celebrated actor for directors including Stanislavski, Vakhtangov and Reinhardt. He developed a unique creative process that continues to inspire actors around the world.


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Practitioner
Michael Chekhov was a celebrated actor for directors including Stanislavski, Vakhtangov and Reinhardt. He developed a unique creative process that continues to inspire actors around the world.
Category
In theatre, naturalism and realism refer specifically to the representation of real life on stage, using believable characters, narrative action and plot, to mimetically holding up a mirror to nature.