Context_1 : The "art of representation" (Russian: "predstavlenie" ) is a critical term used by the seminal Russian theatre practitioner Konstantin Stanislavski to describe a method of acting. It comes from his acting manual "An Actor Prepares" (1936). Stanislavski defines his own approach to acting as "experiencing the role" and contrasts it with the "art of representation". It is on the basis of this formulation that the American Method acting teacher Uta Hagen defines her recommended Stanislavskian approach as 'presentational' acting, as opposed to 'representational' acting. This use, however, directly contradicts mainstream critical use of these terms. Despite the distinction, Stanislavskian theatre, in which actors 'experience' their roles, remains 'representational' in the broader critical sense. Context_2 : Konstantin Sergeievich Stanislavski ("né" Alexeiev; Russian: Константи́н Серге́евич Станисла́вский ; 17 January [O.S. 5 January] 1863 7 August 1938) was a seminal Russian theatre practitioner. He was widely recognised as an outstanding character actor and the many productions that he directed garnered a reputation as one of the leading theatre directors of his generation. His principal fame and influence, however, rests on his 'system' of actor training, preparation, and rehearsal technique. Calling him "the first great creator of a method of acting in the theatre," Jerzy Grotowski praised Stanislavski for "asking all the relevant questions that could be asked about theatrical technique." Stanislavski began developing a 'grammar' of acting in 1906; his initial choice to call it his System struck him as too dogmatic, so he wrote it as his 'system' (without the capital letter and in inverted commas) to indicate the provisional nature of the results of his investigations—modern scholarship and the standard edition of Stanislavski's works follow that practice; see Benedetti (1999a, 169), Gauss (1999, 3—4), Milling and Ley (2001, 1), and Stanislavski (1938) and (1957).</ref> Context_3 : In metadata, the term date is a representation term used to specify a calendar date in the Gregorian calendar. Many data representation standards such as XML, XML Schema, Web Ontology Language specify that ISO date format ISO 8601 should be used. Context_4 : A cortical homunculus is a distorted representation of the human body, based on a neurological "map" of the areas and proportions of the brain dedicated to processing motor functions, or sensory functions, for different parts of the body. Homunculus is Latin for "little man", and was a term used in alchemy and folklore prior to the concept being utilized in scientific literature. A cortical homunculus, or "cortex man", illustrates the concept of a representation of the body lying within the brain. Context_5 : Ars antiqua, also called ars veterum or ars vetus, is a term used by modern scholars to refer to the Medieval music of Europe during the high Middle Ages, between approximately 1170 and 1310. This covers the period of the Notre Dame school of polyphony (the use of multiple, simultaneous, independent melodic lines), and the subsequent years which saw the early development of the motet, a highly varied choral musical composition. Usually the term "ars antiqua" is restricted to sacred (church) or polyphonic music, excluding the secular (non-religious) monophonic songs of the troubadours, and trouvères. However, sometimes the term "ars antiqua" is used more loosely to mean all European music of the thirteenth century, and from slightly before. The term "ars antiqua" is used in opposition to "ars nova" (meaning "new art", "new technique" or "new style"), which refers to the period of musical activity between approximately 1310 and 1375. Context_6 : "Vexilloid" is a term used tenuously to describe vexillary (flag-like) objects used by countries, organizations, or individuals as a form of representation other than flags. Whitney Smith coined the term in 1958, defining it as: Context_7 : Heterogram (classical compound: "different" + "written") is a term used mostly in the study of ancient texts for a special kind of a logogram consisting of the written representation of a word in a foreign language. In most cases, the two languages share the same script. However, while the word in the foreign language may be written either phonetically (representing the sounds of the foreign language) or logographically, in the borrowing language it is necessarily a logograph, since there is no relationship between the symbols used and the pronunciation of the word in the borrowing language. Context_8 : A black cube (or black box) art museum is a term used by some scholars referring to the type of art museum that is architecturally designed or renovated with special consideration for the particular needs of modern digital art, installation art, and video art. The development of the black box art museums originated from a need to accommodate these works in a better way than was previously possible in earlier art museums in the classic style (e.g., the Louvre in Paris) or "white cube" style (e.g., the Museum of Modern Art in New York). Although earlier examples exist, black cube museums have been most prevalent from the 1990s onwards. Context_9 : The Washington Obkom (Russian: "вашингтонский обком" ), literally the "Washington Province Party Committee", is a pejorative term used in Russian media and speech to imply that many crucial decisions by political elites of Russia and some other post-Soviet states have been and are agreed with and/or taken in the United States. The term incorporates two incompatible symbols of power: "Washington D.C." as the symbol of the US administration, and "obkom" symbolizing the power of the Communist Party. According to Russian political analyst Oleg Maslov "Washington Obkom" is one of the key hybrid political symbols in the 21st century Russia. The term is mostly used by various types of Russian nationalists but occasionally is used by the figures of democratic opposition, e.g. by Garry Kasparov. The political term became popular after the 1998 Russian financial crisis that triggered a wave of Anti-Americanism in the post-Soviet Russia and had its peak of Internet usage in January 2006 after the Russia–Ukraine gas dispute of 2005–2006 Context_10 : Symbolic annihilation is a term first used by George Gerbner in 1976 to describe the absence of representation, or underrepresentation, of some group of people in the media (often based on their race, sex, sexual orientation, socio-economic status, etc.), understood in the social sciences to be a means of maintaining social inequality. This term is usually applied to media criticism in the fields of feminism and queer theory to describe the ways in which the media promotes stereotypes and denies specific identities. Gaye Tuchman (1978) divided the concept of symbolic annihilation into three aspects: "omission, trivialisation and condemnation". This multifaceted approach to coverage not only vilifies communities of identity, but work to make members invisible through the explicit lack of representation in all forms of media ranging from film, song, books, news media and visual art. fact_1 : The "art of representation" (Russian: "predstavlenie" ) is a critical term used by the seminal Russian theatre practitioner Konstantin Stanislavski to describe a method of acting. fact_2 : Konstantin Sergeievich Stanislavski ("né" Alexeiev; Russian: Константи́н Серге́евич Станисла́вский ; 17 January [O.S. 5 January] 1863 7 August 1938) was a seminal Russian theatre practitioner. Answer: Konstantin Sergeievich Stanislavski
Output: Art of representation was a term used by which Russian character actor?