The Metaphor of Circle: Stanislavski, Phenomenology of Roundness and High Yoga

Stanislavski’s Eastern influence and his persistent fascination with Yoga is an established area of research. Stanislavski has two major yogic influences in the System: Hatha Yoga and Raja Yoga. The first is about training the body through postures, movements, stances and breathing exercises to make it active, relaxed and energetic. The second includes a range of exclusive practices on concentration and visualization that are an integral part of the actor’s creativity. However, in the current research, there is a clear lack of a comprehensive practical method that informs Stanislavski’s use of yogic practice in the System: what specific yogic exercises were used and what synergies were developed in the training? Scholars have, so far, only explored Stanislavski’s literary legacy of his encounter with yoga, identifying the Sanskrit terms appeared in his writings such as prana for breathing and the Indian anecdotes he used when answering the questions of his students. Focusing on the metaphor of the circle, the phenomenology of roundness and the Deleuzian notions of ‘the invisible forces of sensations’ and ‘the body becomes an event itself’, the present study, for the first time, offers useful insights into the fundamental principles of yoga and their methods of practice as a way of developing a new training to understand the significance of Stanislavski in the 21st century

His dream of passion: reflections on the work of Lee Strasberg and his influence on British actor training

The first of two ‘companion’ articles examining the work of Lee Strasberg, this discussion begins with an exploration of Lee Strasberg’s interpretation and adaptation of Stanislavski’s ‘Emotion Memory’ exercise before proceeding to examine the efficacy of his version of the technique and consider the extent to which some of the persistent criticisms surrounding his approach are tenable. Has his work been misjudged and misrepresented in recent years or are some of the concerns that have arisen justified? The discussion will then move on offer a brief outline of some of Strasberg’s other techniques and consider the degree to which his approach may have influenced actor-training environments in British schools and colleges