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

    To do this, when the scene is set, I would have to actors walk on together huddled in a group.

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

    Not only will this add to the depth of the character, it will make the audience relate more to the character. By asking questions about the role, it becomes explored until the actor knows and can understand why his character reacts in certain ways, or why he is there, how he came to be there etc.

  1. In the light of your study of Stanislavski and after seeing Miss Julie how ...

    she loves it and could not just sit at home like the other sisters. This arises one of the themes of the play 'work'. None of the sisters worked previously as they are wealthy and do not have the need to work.

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

    personality and known character traits). He/she must consider the time period or time of day in which the performance is set, as well as show an understanding of the themes and issues raised by a scripted or devised performance. It is also important that the actor has an awareness of

  1. 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

  2. How research material was gathered and used within the process of writing a play.

    We then individually went away and performed our own research. The topic we came up with was the criminal mind I looked on the Internet at the web site www.murder.com where I was given scenarios or different murders carried out.

  1. Describe and evaluate your rehearsal process

    We emphasised the idea of time in the dance by isolating our arms. We used them as hands on a clock which would tick in parts of the dance. To give the idea of the melting clocks and time slipping away from the family we used flowing movements like movements

  2. A Guide to being an RNIB volunteer

    The existing leaflets I found were nearly always formal and monotonous in style, and many teenagers commented on how they wouldn't read these as they found them boring. It was these remarks that influenced the tone of my piece.

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