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Stanislavski System

A progression of techniques used to train actors to draw believable emotions to their performance.
by

Jess Adler

on 4 January 2013

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Transcript of Stanislavski System

by Jessica Adler Stanislavski's System In 1933, this ‘Method of Physical Actions’ replaced his earlier techniques based on ‘Emotional Memory.’ Stanislavski Video ‘My system will enable actors to create the image of a character, breathe into it the life of a human spirit, and by natural means, embody it on the stage in a beautiful artistic form’ - Stanislavski, An Actor Prepares. Born on January 17, 1863 in Moscow, Russia. He was a theatre director, stage actor, theatre theorist. He died 7 August 1938 (aged 75) Moscow, Soviet Union. Notable works: co-founder of the Moscow Art Theatre, An Actor's Work, My Life in Art Konstantin Sergeyevich Alekseyev He started acting at the age of 14. He believed that actors needed to inhabit authentic emotion while on stage.
They would draw upon feelings they had experienced in their own lives. 'Stanislavski Method' In June 1897 in Russia, Stanislavski and successful author-producer Nemirovich Danchenko decided to merge their acting companies and form the Moscow Art Theatre (MAT). In 1898 the MAV produced Seagull. Was a mediocre success, but became the precursor of reforms in actor training, leading to Stanislavski’s famed ‘inner technique.’ MAT actors were initially resistant but eventually agreed to apply some of Stanislavski’s techniques to their performances.

Stanislavski therefore formed the First Studio in 1911, which became a laboratory for his new experiments. An Outline of the Stanislavski System Relaxation. Learning to relax the muscles and eliminate physical tension while performing. Concentration. Learning to think like an actor and to respond to one's own imagination. Work with the senses. Discovering the sensory base of the work: learning to memorize and recall sensations, often called "sense memory." Contact and communication. Developing the ability to interact with other performers spontaneously. Learning to divide the role into sensible units that can be worked on individually, and developing the ability to define each unit of the role by an active goal (objective) desired by the character. Logic and believability. Discovering how to be certain that the combined objectives are consistent and coherent, and that they are in line with the play as a whole. Work with the text. Developing the ability to uncover the social, political, and artistic meaning of the text, and seeing that these ideas are contained within the performance. The creative state of mind. An automatic culmination of all the previous steps. Stanislavski stated that truth on stage was different from truth in real life.

In Stanislavskian technique an actor does not actually believe in the truth of the events on stage, only in the imaginative creation of them. Magic "If" The actor tried to answer the question, “If I were in Macbeth’s position, then what would I do?"
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