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

As an actor, how would you use Stanislavski's ideas on "given circumstances" and "the magic if" when prepairing a role for performance.

Extracts from this document...


AS AN ACTOR, HOW WOULD YOU USE STANISLAVSKI'S IDEAS ON "GIVEN CIRCUMSTANCES" AND "THE MAGIC IF" WHEN PREPARING A ROLE FOR PERFORMANCE? When preparing a role for performance, I would use Stanislavski's ideas on "given circumstances" and "the magic if". Both ideas are essential to be able to perform the role realistically. When preparing a role, the actor must know the given circumstances. We retrieve this knowledge from the playwright. The given circumstances are always based on fact and never interpretation. ...read more.


FOR EXAMPLE: Making a modern day version of a Shakespearian play. With this in mind, to get the most accurate and believable characters, the actor must pay attention to finer details. FOR EXAMPLE: Historical, economic, and social context or the play. The before and after time of a character is influenced by the given circumstances and so when preparing, this is another aspect that needs to be taking into consideration. FOR EXAMPLE: Whatever happened to Yerma in her before time will affect the way she talks to people. ...read more.


Each question must be answered for an actor to be able to play the character effectively. Stanislavski's ideas on "the magic if" are also important. This involves the actor asking the main question words, what, how, why, and so on. Improvisations can help an actor prepare as it opens many possibilities and can help them to explore new emotions. For example, 'what if there is a mad man behind the door when I open it?'. The main 'what if...?' in preparing for Yerma would be 'what if I really want a child and how would I act?'. Ms. Malone Steph Jones SF02 26/11/2002 ...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 ...

    am I; but if I were and old oak tree, set in certain surrounding conditions, what would I do?' In the preparation of a role this is crucial. In order to establish the realistic style of acting Stanislavski wanted to achieve, an actor must draw upon the realistic reactions of himself, and incorporate them into the role.

  2. With close reference to act 2 scene 1 of The Crucible outline how you ...

    In reference to The Crucible for example the social context of the story is a puritan settlement in America without going into too much detail, but when reading the play I would actually analyse very closely. I would also do some research into the story, for instance The Crucible is

  1. The stimulus we were given to look at was the play 'Too Much Punch ...

    This set the scene for our performance, it introduced the subject of alcohol and drink driving and also informed the audience of a few facts and statistics about drink driving. The music was playing throughout that beginning scene and gradually got louder and louder until it suddenly stopped.

  2. How did your role emerge and how was it communicated?

    The scene involved a couple in a bank sitting in front of the manager's desk. This was not done on stage, but on a flat wooden block. The top of the table was not facing the ceiling, but the audience.

  1. Comparison between 'The Godmother' and 'Bugsy Malone'

    You can use your voice by altering the pace, pitch, volume and you can put in pauses and put on accents . You also have to over emphasise facial expressions so that the audience can see more obviously unlike in a film where you can do close up's on a character.

  2. the magic if drama

    The most important thing needed to create the realism and 'Magic If' is imagination. But of course the most important thing needed to do all this is my imagination. Stanislavski points out: "If you speak any lines, or do anything, mechanically, without fully realising who you are, where you came

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

    the scene opens and knowing what will happen after the play ends. An actor should not truthfully believe the reality of events on stage, but she should believe in the possibility of events. The " magic if " transforms the character ' s aim into the actor ' s aim.

  2. Six Characters in Search of an Author by Luigi Pirandello, Act One, Scene One, ...

    As a result of this my entrance was startling ? building an actor/audience relationship ? as my reaction upon first seeing the audience was anxiety and anguish, as ?this was the story I didn?t want to tell?, underscoring the haunting effect of the soundtrack.

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