This article examines how notions of artistic truth and authenticity articulated by Konstantin Stanislavski and his followers might be adapted for use within interactive and immersive performance. Making connections between Stanislavski's aesthetics and the kinds of spectatorial relationships established within contemporary participatory performance, the article asserts that Stanislavskian techniques used for training actors to behave truthfully in imaginary circumstances can also be used productively when training for performances that reject the fourth wall conventionally associated with Stanislavskian theatre. The article draws on the author's experience of practising and teaching techniques developed by Stanislavski, Lee Strasberg and Sanford Meisner, as well as his experiences of creating and performing within intimate, interactive performances. The discussion of these practices is framed by a critical discussion of how issues in contemporary performance aesthetics relates to the field of performance training, making specific reference to Nicolas Bourriaud's theory of relational aesthetics.
Edinborough, C. (2018). Using the method to be myself: adapting and appropriating historical training approaches for interactive performance. Theatre, Dance and Performance Training, 9(2), 174-188. doi:10.1080/19443927.2018.1453863