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Stanislavski

The Creator of Method Acting
by

Andrew Martens

on 4 May 2010

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Transcript of Stanislavski

The Psycho-Technique 2. The Magic If 1. The Given Circumstances 3. Imagination 4. Concentration 5. Relaxation 6. Units & Obectives 7. Truth & Belief 9. Communion 8. Emotion Memory 10. Adaptation & Aids Konstantin Stanislavsky The story of the play, its facts, events, periods, time and place of action, the conditions of life, the actor's and director's interpretation of the play, their additons to it, the mise-en-scenes, the production, the scenery and costumes of the stage designer, the properties, the sound effects and so on. It includes everything that the actor is asked to take into consideration in his work on the stage Having thoroughly investigated the Given Circumstances, the actor then asks the question: If these circumstances were true, how would I behave, what would I do? The Magic If is in effect a key which allows the actor to enter the world of the Given Circumstances, to believe he is part of it, to change his character, and therefore to act in a truthful way. The Given Circumstances are not enough to create a fully-rounded character. The playwright and the director can show the actor the important aspects of the character, but in order to make the character "real" and fully believable, the actor has to use his imagination and "fill in the missing bits". To make best use of his imagination, an actor must be able to control it. This he can only do with a well-trained concentration. There are three levels of concentration 3 Levels: 1. Outer The actor must be able to focus on the stage, the scenery and the actors around him, and shut out the audience - "public solitude" 2. Inner The actor must shut out his own thoughts and feelings an remain constantly focused on the character 3. The Outer World If you're portraying human life on stage, you have to observe and understand it. You have to be an observer not only of human behaviour, but also history, religion, art and culture. You have to see beauty An actor's body and voice have to be flexible and versatile - a finely tuned instrument. Physical tension interferes with this. It is caused by nervousness. The actor must consciously relax and then be ready for action: 3 Phases Tension
Relaxation
Justification The play should be divided into chunks. Each unit should have its own psychological and dramatic goal. This objective should be expressed by "I want....." The actor must establish a level of belief in his character - "the willing suspension of disbelief". This is often done by concentrating on small physical actions which allow the actor into the character. Apocalypse Now In order to truthfully portray the emotions of his character the actor must look into his own memories and find the same emotions in his own life. These will need to be adapted and modified where necessary. An actor always plays an aspect of himself. An actor does not just work on his own. Working as a team is very important. Actors must be intensely focused on one another, reacting and giving out signals. They should be locked into a state known as GRIP The methods, the physical signs which the actor uses to communicate his character and feelings, which may start as a mechanical key, but should always be adapted into a truthful, organic part of the performance Jack Sparrow Some extra elements Preparation Two hours before performance: physical and vocal tuning The Through line and the Super-Objective A common understanding of the overall meaning and purpose of the play. All elements of the Psych0-Technique pulling in the same direcion. Tempo-Rhythm Like a piece of music, a play and individual performances should have their own musical cadences and rhythms. Judging and varying the pace of a performance is important. 10 elements in the system Raging Bull Robert De Niro is Jake La Motta Girls can do it too! Charlize Theron is Aileen Wuornos The birth of method acting on film Marlon Brando is Stanley Kowalski
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