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dc.date.accessioned2018-07-27T16:08:48Z
dc.date.available2018-07-27T16:08:48Z
dc.date.issued2017
dc.identifierET2838
dc.identifier.citation(2017) An investigation of the movement-based exercises of Michael Chekhov and Konstantin Stanislavski, and to what degree they influence the actor's interpretation of a character role., no. 26.
dc.identifier.urihttps://eresearch.qmu.ac.uk/handle/20.500.12289/8013
dc.description.abstractThis study compares and contrasts the movement-based exercises of Michael Chekhov and Konstantin Stanislavski. The study aims to investigate the influence each respective practitioner's exercises can have on an actor's interpretation of Iago from Shakespeare's Othello. The practical component evidences the researcher's investigation of both practi-tioner's movement-based with a week dedicated to each practitioner. The researcher pre-sents their reflection of the practical week for each practitioner by providing their opinions of each exercise, and whether or not they believe it influenced the final performance. The researcher performs a monologue of Iago for each practical, while using the movement-based exercises to direct the final performance. The written component provides an extensive reflection of the exercises, as well as the final performances of Iago, using the principles of Eugenio Barba's Theatre Anthropology to ground the researcher's reflection. The reflection details the researcher's impression of each exercise, as well as what influence they feel it leant to their interpretive reading of Iago. The final performances of Iago as influenced by Chekhov and Stanislavski respectively are then compared and contrasted to identify the effectiveness of their movement-based exercises in supplying the researcher with an interpretive reading of the classical villain. The final performances are also cross-examined with Eugenio Barba's Balance in Action, where the researcher discovered the key aspect that both performances shared.
dc.format.extent26
dc.publisherQueen Margaret University
dc.titleAn investigation of the movement-based exercises of Michael Chekhov and Konstantin Stanislavski, and to what degree they influence the actor's interpretation of a character role.
dc.typeThesis
dcterms.accessRightsrestricted
dc.description.facultyba_dap
dc.description.ispublishedunpub
dc.description.eprintid2838_etheses
rioxxterms.typeThesis
dc.description.statusunpub


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