Dulu pernah dalam sebuah perbincangan angkringan di salah satu sudut kota Jogja suatu malam, saya bersama rekan-rekan mencoba mencarijawab atas pertanyaan nakal. "Kalau Palang Merah punya bapak namanyaHenry Dunant serta Gerakan Pramuka punya Lord Badden Powell. Kira-kira Dunia Teater siapa ya 'bapak'nya?"
Tanpa bermaksud mengecilkan peran tokoh-tokoh yang lain,Drama Realistak mungkin menghilangkan peran yang terlanjur ditanamkan olehpeletak dasar akting didalam teater modern yang pengaruhnyapun terasasampai hari ini.Bahkan sejarah perfilman di Hollywood sendiri tak pernah bisamengenyahkan dari ingatan akan nama-nama besar seperti Marlon Brando,Robert De Niro, Dustin Hofman serta Al Pacino maupun banyak yanglainnya. Yang kesemuanya pernah merasakan sentuhan pola latihan "TheMethod"Pun juga buku yang pernah dijadikan rujukan internasional dalam duniaseni peran seperti "Acting Is Believing" juga tak bisa disterilkandari pemikiran pria kelahiran Moskwa satu itu.Siapakah Konstantin Stanislavsky itu? mari kita simak tulisan yangsengaja saya kutip utuh dari versi bahasa inggrisnya ini. Sebetulnyasaya pengen mengutip langsung dari versi bahasa Rusia, tapi nalurikekhawatiran saya mengatakan,"Slow wae Nis, tidak semua orang pahamdengan Bahasa Rusia". Memang agak susah dipahami, sebagaimana halnyakadang bagi banyak orang catur stanispun susah dipahami, hahaha.Wis lah daripada lebih panjang pengantarnya, silahkan menikmati...
Born in Moscow in 1863, Constantin Sergeyevich Stanislavsky had amore profound effect on the process of acting than anyone else in thetwentieth century. At age 14, Stanislavsky joined a theatrical grouporganized by his family, and soon became its central figure.Throughout the late 1800s he improved as an actor and began toproduce and direct plays. It was his assertion that if the theaterwas going to be meaningful it needed to move beyond the externalrepresentation that acting had primarily been. Over forty years hecreated an approach that forefronted the psychological and emotionalaspects of acting. The Stanislavsky System, or "the method," as ithas become known, held that an actor's main responsibility was to bebelieved (rather than recognized or understood).To reach this "believable truth", Stanislavsky first employed methodssuch as "emotional memory." To prepare for a role that involves fear,the actor must remember something frightening, and attempt to act thepart in the emotional space of that fear they once felt. Stanislavskybelieved that an actor needed to take his or her own personality ontothe stage when they began to play a character. This was a clear breakfrom previous modes of acting that held that the actor's job was tobecome the character and leave their own emotions behind. LaterStanislavsky concerned himself with the creation of physical entriesinto these emotional states, believing that the repetition of certainacts and exercises could bridge the gap between life on and off thestage.In his travels throughout the world with the Moscow Arts Theater,Stanislovsky earned international acclaim as an actor, director, andcoach. Among his collaborators were the writers Tolstoy and Chekov.While Stanislavsky's new method of acting supported actors inbreaking from the exact lines and actions of the script, it alsodemanded that they pay closer attention to the important unsaidmessages within the writing. This prompted writers such as Chekov tomake subtler emotionally alive work.Today in the United States, Stanislavsky's theories are the primarysource of study for many actors. Among the many great actors andteachers to use his work are Stella Adler, Marlon Brando, SanfordMeisner, Lee Strasberg, Harold Clurman, and Gregory Peck. Many of these artists have continued experimentation with Stanislavsky'sideas. Among the best known of these proponents is the Actor'sStudio, an organization that has been home to some of the mosttalented and successful actors of our time.
Sampai disini, saya kira tidak terlalu sembrono kalau saya menyebut Stanislavsky adalah peletak dasar Akting Realis. Anda boleh tidak setuju...dan mari kita perbincangkan hal ini sembari menyeruput kopi dan ngemil. hehehe. Meski kata teman saya yang jadi imam langgar, "Boleh jadi Stanislavsky memang salah satu bapak teater tapi aktor pertama di dunia pasti Nabi Adam hahahaha!"
Fakta Yang Agak aneh adalah sebuah kebetulan:
1888, Konstantin Stanislavsky mendirikan Society Of Literature and Art dimana seratus tahun kemudian ditahun 1988, Catur Stanis masuk Jurusan Teater ISI Yogya
1898, Konstantin Stanislavsky mendirikan Moscow Art Theatre seabad berselang di tahun 1998, Catur Stanis mendirikan CS HOT (catur stanis house of theatre)
Bisa jadi kedua fakta diatas, menunjukkan bahwa guyonan Dewo Hadiningrat senior Stanis di Jurusan teater waktu itu tidak mainmain memberikan anugerah julukan Stanis padanya saat malammalam mencekam penuh canda di Gempol Forum waktu itu.
Tanpa bermaksud mengecilkan peran tokoh-tokoh yang lain,Drama Realistak mungkin menghilangkan peran yang terlanjur ditanamkan olehpeletak dasar akting didalam teater modern yang pengaruhnyapun terasasampai hari ini.Bahkan sejarah perfilman di Hollywood sendiri tak pernah bisamengenyahkan dari ingatan akan nama-nama besar seperti Marlon Brando,Robert De Niro, Dustin Hofman serta Al Pacino maupun banyak yanglainnya. Yang kesemuanya pernah merasakan sentuhan pola latihan "TheMethod"Pun juga buku yang pernah dijadikan rujukan internasional dalam duniaseni peran seperti "Acting Is Believing" juga tak bisa disterilkandari pemikiran pria kelahiran Moskwa satu itu.Siapakah Konstantin Stanislavsky itu? mari kita simak tulisan yangsengaja saya kutip utuh dari versi bahasa inggrisnya ini. Sebetulnyasaya pengen mengutip langsung dari versi bahasa Rusia, tapi nalurikekhawatiran saya mengatakan,"Slow wae Nis, tidak semua orang pahamdengan Bahasa Rusia". Memang agak susah dipahami, sebagaimana halnyakadang bagi banyak orang catur stanispun susah dipahami, hahaha.Wis lah daripada lebih panjang pengantarnya, silahkan menikmati...
Born in Moscow in 1863, Constantin Sergeyevich Stanislavsky had amore profound effect on the process of acting than anyone else in thetwentieth century. At age 14, Stanislavsky joined a theatrical grouporganized by his family, and soon became its central figure.Throughout the late 1800s he improved as an actor and began toproduce and direct plays. It was his assertion that if the theaterwas going to be meaningful it needed to move beyond the externalrepresentation that acting had primarily been. Over forty years hecreated an approach that forefronted the psychological and emotionalaspects of acting. The Stanislavsky System, or "the method," as ithas become known, held that an actor's main responsibility was to bebelieved (rather than recognized or understood).To reach this "believable truth", Stanislavsky first employed methodssuch as "emotional memory." To prepare for a role that involves fear,the actor must remember something frightening, and attempt to act thepart in the emotional space of that fear they once felt. Stanislavskybelieved that an actor needed to take his or her own personality ontothe stage when they began to play a character. This was a clear breakfrom previous modes of acting that held that the actor's job was tobecome the character and leave their own emotions behind. LaterStanislavsky concerned himself with the creation of physical entriesinto these emotional states, believing that the repetition of certainacts and exercises could bridge the gap between life on and off thestage.In his travels throughout the world with the Moscow Arts Theater,Stanislovsky earned international acclaim as an actor, director, andcoach. Among his collaborators were the writers Tolstoy and Chekov.While Stanislavsky's new method of acting supported actors inbreaking from the exact lines and actions of the script, it alsodemanded that they pay closer attention to the important unsaidmessages within the writing. This prompted writers such as Chekov tomake subtler emotionally alive work.Today in the United States, Stanislavsky's theories are the primarysource of study for many actors. Among the many great actors andteachers to use his work are Stella Adler, Marlon Brando, SanfordMeisner, Lee Strasberg, Harold Clurman, and Gregory Peck. Many of these artists have continued experimentation with Stanislavsky'sideas. Among the best known of these proponents is the Actor'sStudio, an organization that has been home to some of the mosttalented and successful actors of our time.
Sampai disini, saya kira tidak terlalu sembrono kalau saya menyebut Stanislavsky adalah peletak dasar Akting Realis. Anda boleh tidak setuju...dan mari kita perbincangkan hal ini sembari menyeruput kopi dan ngemil. hehehe. Meski kata teman saya yang jadi imam langgar, "Boleh jadi Stanislavsky memang salah satu bapak teater tapi aktor pertama di dunia pasti Nabi Adam hahahaha!"
Fakta Yang Agak aneh adalah sebuah kebetulan:
1888, Konstantin Stanislavsky mendirikan Society Of Literature and Art dimana seratus tahun kemudian ditahun 1988, Catur Stanis masuk Jurusan Teater ISI Yogya
1898, Konstantin Stanislavsky mendirikan Moscow Art Theatre seabad berselang di tahun 1998, Catur Stanis mendirikan CS HOT (catur stanis house of theatre)
Bisa jadi kedua fakta diatas, menunjukkan bahwa guyonan Dewo Hadiningrat senior Stanis di Jurusan teater waktu itu tidak mainmain memberikan anugerah julukan Stanis padanya saat malammalam mencekam penuh canda di Gempol Forum waktu itu.
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