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

Out line your present understanding of Stanislavski's system

Extracts from this document...

Introduction

Laura Hall Out line your present understanding of Stanislavski's system Konstantin Sergeivich Stanislavski was born in 1863 and dies in 1938. He was a Russian actor, director and acting trainer. In 1898 together with Nemirovich- Danchenko, he founded the Moscow Art Theatre. Stanislavski believed that theatre was about working together, he recognized the need to improve the theatre practice of his time and saw actors needed methods to help them act well and consistently. To solve these problems he developed what was later to be called The System. It was a rational process of techniques and exercises designed to train and develop the actor's skills. The areas Stanislavski believed were important to concentrate on included imagination, observation, creativity, physical and vocal skills and intellectual analysis. This system was perfected after thirty years of careful research, analysis and practical application. The main system was divided into two main areas. The first concerned the physical state of the actor, Stanislavski thought that the body was the actors instrument and just like a musicians instrument it needed attention and 'tuning'. Therefor the believed actors should be in good physical shape and have many physical skills. The second part was called the Psycho-technique and was concerned with the actor's mental state. ...read more.

Middle

Thus it becomes possible for the performer to work from outer expression to inner feeling. Subtext, Stanislavski uses this term for the meaning and emotional power that lie beneath the lines , the 'unspoken' content of characters' thoughts, actions, attitudes and relationships. In probing and expressing the subtext, actors create a more dynamic and life like interpretation and performance of the text. The through line of action, This device is based on Stanislavski's idea that each actor should discover and utilise her/his character's main motive for action whatever it is that drives them through the play. I have used this device in helping me to understand a character from A play by Anton Chekhov called 'The Three Sisters', stanislavski was well known for directing Chekhov's plays including this one. I had chosen to work on the character of Andrey. The through line of action can be summed up in one sentence starting with 'I want....'. Firstly I considered how Andrey's character behaves during the play and what his main objectives are. I eventually came up with the sentence which I think works for a through line of action of his character. 'I want my sisters to understand me and respect my decisions'. ...read more.

Conclusion

Thus, if an actor is called upon to portray some experience they have not actually had, an analogous feeling could usefully be recalled and used. Stanislavski remained aware that for an actor to draw on a very painful personal experience may not be good for that individual or control of the emotion aroused might prove difficult. An alternative was to use improvisation: a freely created dramatic scene can generate powerful emotions that can also be recalled later and channeled into the text. The unbroken line of life. Stanislavski stresses that actors should not only maintain concentration and remain in role when onstage but offstage, too. Furthermore, events that take place offstage during the play even simply elapses of time must also be taken into account and drawn into the portrayal of characters. So offstage experiences are made physically and emotionally apparent to the audience, if appropriate, and at each entrance/re-entrance onto the stage the actor brings with them the offstage experience. This led Stanislavski to encourage his actors to improvise scenes and events that were referred to in the play or were a crucial part of the development of the text. These creations around the play aided the creation of this continuous 'life' of a character, which in turn contributes to the subtext of the whole performance. By using these 10 techniques Stanislavski intended to introduce an almost scientific, methodical approach to acting. ...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 Theatre Studies 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 Theatre Studies essays

  1. Two scenes from the play "Whose Life Is It Anyway" and how I would ...

    Emerson walks over to Ken's bed and reaches for his arm. This shows how direct Dr. Emerson is and the director would want to produce this point showing that as Dr. Emerson comes in he looks at Ken's arm and not directly at Ken. Ken says to Dr. Emerson "Dr.

  2. Sports Development

    Special guests tutors included Liz Lea, Sarah Cremer, Banxy and David Capps Head of dance at the University of Colorado at Boulder, who was oneof the judges at the Tyrone Crystal Youth dance evening. Two of the highlights were the visits to the Grand Opera House of the world famous

  1. Performing arts skills

    the space provided, and expressed myself as colours- not to act as a colour but to BE the colour. I also posed in abstract ways to form a still frame, which meant using my imagination instead of being told what to do and not understanding why, this let me come

  2. The Devising Process

    Being disciplined and focused enough to work alone on one's own projects and tasks ment that when the group came back together, work had been achieved or improved. Sam and Debbie both took a great deal of time to focus on building the relationship of their characters, the pace, and

  1. The Job - Dramatic aims and objectives.

    Preparation, Pooling of ideas and my own Contribution A large proportion of our preparation was based around character building exercises as we felt it was extremely important to have unique individual characters that were not entirely stereotypical to the gangster genre.

  2. Three Sisters, Anton Chekhov. Stanislavski's 'Magic If' as it pertains to the character Toozenbach ...

    It is of course important to attain a good grasp and understanding of relaxation and concetration before one goes on to the Magic If. So we once pick up the script, read it once, form certain ideas, read it again and clarify more for oneself.

  1. Drama and Theatre Studies structured records

    Considering the ensemble approach to devising we wanted each member to experience directing each scene, this also allowed us to incorporate more than one member's objective for a particular scene. Therefore, we often resorted to switching roles mid scene to appreciate the way each member would perform certain characters and situations.

  2. You Cannot Act The System- Stanislavski

    The aim of an actor is to portray their character fully throughout the whole performance and not step out of their character at any time. The actor must be able to conjure up their imagination at any time. If for whatever reason they can't recall what their next action or

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