Konstantin Stanislavski dan Penciptaan ‘Aktor Estetik’

Abstract

ABSTRACT This article aims to reveal Konstantin Stanislavski as an example of an 'avant-garde' theater director, more than any other director, who gives actors the freedom to engage in 'creative practices of self-development'. He ‘institutionalized’ the actor at the center of the meaningful stage and began the first stage of his theater study process. Stanislavski's guidance as a director gave the actor's self-performance the opportunity to bridge the gap between himself and the character in a role. Actors can define their own concepts and meanings through their roles to some extent with the director's concepts and, thus, can turn acting into a 'creative act'. Stanislavski was the 'originator' who began the process of realizing the ideal of wholeness in acting and directing. He developed a theatrical framework by proclaiming the necessity that the main creative artist and authority for 'mise en scene' (theatrical staging strategy) is the director. Stanislavski systematically pursued the possibility of developing his and his actors' 'selfconcept' and/or 'personal style', both directing and acting through 'mise en scene' at the conceptual level. And in doing so, Stanislavski was developing the first stage of a process, namely 'conception'. Keywords: Avant-garde, Theatre Director, Self-Concept, Aesthetic Actor, ‘Mise en Scene’