• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

As a director, how would you use Stanislavski's ideas on relaxation, concentration of attention and tempo-rhythm to guide your actors during the rehearsal process?

Extracts from this document...


As a director, how would you use Stanislavski's ideas on relaxation, concentration of attention and tempo-rhythm to guide your actors during the rehearsal process? Stanislavski's ideas on relaxation, concentration of attention and tempo-rhythm went into great detail. He had very distinct, yet simple to follow ideas on each three, which actors still use and study to this day. Stanislavski dwelled on concentration of attention to a great extent. The use of attention when playing a role was considered very important. Concentrating on the attention was a skill that came from practise and focus, beginning in rehearsal and continuing into the final performance. The theory of concentration of attention is being able to concentrate on a particular part of the scene, which could be an object, a physical move or listening to the speech. This allows the actor to concentrate on the part of the play and know what is going on and happening around him, so there are no free moments. ...read more.


Sitting at his typewriter, attempting to write poetry, he has no interaction with any other characters, and requires no audience response. Therefore, he can devote his entire concentration into the role and the scene around himself. However, if playing the role Mrs. Grigson, the two-minded approach would need to be employed. Here, her role involves much interaction, between Davoren, Seamas and her own husband too. She needs to both be concentrating on her own role in the play and, at the same time, be able to pick up on what the other actors in the scene are doing, monitoring if anything in her own performance needs to be adjusted to make the act better. Stanislavski stressed the importance of physical relaxation, as in his own opinion, muscular tension interfered greatly with the actors work, and his attempts to get into a role. He made a point of practising relaxing muscles on a daily basis, and getting into a habit of relaxation, both on and off the stage Stanislavski felt that an actor should be aware of the body, and have great control over its movements. ...read more.


He once said, 'You must get accustomed to disentangling and searching out your own rhythm from the general, organised chaos of speed and slowness going on around you on the stage.' As a director, it would be very important that each actor knows what each other is doing, how they are acting and their own rhythms. The use of contrasting rhythms would have to be employed and the inner and outer rhythms of an individual actor need to be different to create the contradiction, leading to greater tension within the role. Most importantly, as a director, I feel it is necessary, that the use of relaxation, tempo-rhythm and concentration of attention compliment each other. For instance, a relaxed actor is most suitable to be able to concentrate fully, even if it is in circles of attention or a more two-minded approach. Similarly, the relaxed actor is most able to use tempo-rhythm and control himself appropriately. Each technique, it needs to be stressed, are not independent of each other, but need to be used together to result in the best performance. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Plays section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Plays essays

  1. 'What did Stanislavski mean by Imagination and Concentration/Attention? How could these ideas help in ...

    Therefore, the role becomes believed rather than pretended; the actor becomes the character. As Stanislavski said, 'parts in the play are the invention of the author's imagination, a whole series of ifs and given circumstances thought up by him. There is no such thing as actuality on stage.'

  2. Describe and evaluate your rehearsal process

    of the spine from the base of the spine and techniques from Christopher Bruce's Ghost Dances like the grape vine which we used to show how the family are together working in unison but then the mother and the father jump away from their daughter which shows how the parents

  1. How did the rehearsal process contribute to the final performance?

    This monotonous process meant that we knew the scenes intimately, and so when we came to re-run a scene we would know exactly what to be doing and when. On several occasions, when not all members of the group were needed in a scene, they would stand to one side and 'act as the director'.

  2. As a Director, How Would You Use Comedy to Indicate Your Dramatic Intentions?

    '...that I Pyramus, am not Pyramus, but Bottom the Weaver' The audience would find this particularly amusing when the actors sit to rehearse their play. While they are concerned they will be too convincing, Bottom and Flute both pronounce words wrong and must be corrected.

  1. How does the Director encourage the audience to feel sympathy for Derek and his ...

    The detective, however, is not fazed by the firearm and simply asks him for it. A long pause follows. The next shot shows Derek, his face a picture of horror and disbelief. "Let him have it, Chris" are the words used by Derek.

  2. The aim was to create a play that would provoke thought and raise awareness ...

    Linda was the bride to be and her parents were a Nigerian father and a Jamaican mother. Our characters were fictional, however, the experiences and their lives were based on real people. We did a lot of secondary research {internet and books} and also primary research: talking to family and

  1. As an actor using Stanislavski ' s system, how would you use his ideas ...

    Knowing extra withheld details about a character will give depth to the actor ' s performance and will give the actor a greater perspective and " a feeling of movement in the role. " Stanislavski referred to this as " predicted circumstances " ; i.e., knowing what has happened before

  2. Detail your understanding of the Given Circumstances and the Magic 'If' in the Stanislavski ...

    Another of Stanislavski's ideas, closely linked with the magic 'if' is that when creating a role, an actor must have a good awareness of the given circumstances of that role. The given circumstances are all the specific details given to an actor to take into consideration as he/she creates a role.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work