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

Stanislavski beleived that actors should have increased responsibility. What did he mean by this?

Extracts from this document...


STANISLAVSKI BELIEVED THAT ACTORS SHOULD HAVE INCREASED RESPONSIBILITY. WHAT DID HE MEAN BY THIS? Konstantin Stanislavski (1863-1938), was a Russian actor, director and author of many books such as "An Actor Prepares" and "Building a Character". Stanislavski is widely known as the most influential personality of Russian Theatre. From 1907, Stanislavski devoted himself to developing the system of actor training. All actors have an ego and Stanislavski was well aware of this fact. He found that actors chose to play characters in a way that highlighted what they wished to be seen rather than a way that was true to the playwrights intention. So, the ego of actors must go. We as actors must be responsible enough to not use a character as something we would like to be, or how we would want people to see us as. Stanislavski believed that "first, an actor has to know themselves". One exercise we did was to write down five things true about ourselves. ...read more.


She tries to refuse the offer of the brooch, but the friend is very persistent and leaves it for her on her bedside table. She is very grateful and shows her friend to the door. When she returns the brooch has gone. The actor now has to act as if she has actually lost her friend's brooch. This "magic if" is one of the most important and fundamental elements of Stanislavski's theory. The actors now had the responsibility to develop discipline. This would enable them to put their talents at the purpose of the play and its meaning. An actor must be responsible for his or her physical and mental well being. It is important for an actor to stay flexible, so that they can take on a wide range of characters. Otherwise, the character will look just like the actor. We went through some muscular and relaxation techniques to help us take control of our unwanted tension. ...read more.


For example, the way the character walks off stage. However, this will be directed subtly and the audience feel something for the character but are not sure why. Emotional memory can help an actor perform situations more realistically if they draw upon their own relevant experiences. It can be triggered by sound, smell, or touch. However, the actor has to be responsible when using emotional memory. These memories have to be 'safe' that are resolved. If the memory is still 'fresh', it could make you cry and break down. That is not the purpose of emotional memory and it will not help an actor create a role. The actor must thoroughly go through the play and study it before taking on a character. This is not interpretive; it is based on only factual information. However, attention needs to be drawn to finer details such as, historical, economic, and social context to help process a role. The given circumstances affect the way the actor interacts with other characters. If the actor is not sure of these circumstances, it can lead to misdirection and going against playwright intension. Ms. Malone Steph Jones SF02 11/11/2002 ...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 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. The Devising Process

    With her grand, elaborate entrance setting up the character to have power and following this with the sudden embarrassment of attempting to wear a potato and eat tobacco proved helpful in mocking a figure of such status. Not only did presenting situations of boy players, Elizabethan Theatre and gifts from

  2. Konstantin Stanislavski.

    Here are also Stanislavski's techniques: Relaxation When he observed the great actors and actresses of his day, Stanislavski noticed how fluid and lifelike their movements were. They seemed to be in a state of complete freedom and relaxation letting the behaviour of the character come through effortlessly.

  1. Free essay

    How would you, from a Brechtian perspective, prepare and direct the actors in the ...

    // "Nothing." // "No, there's nothing we can do." The peasant woman should then force the others to kneel and pray. She should say the prayer hurriedly and stutter now and again, so to get the slight guilt that she may have out of the way.

  2. Konstantin Stanislavski (1863 - 1938)

    his family business, organizing shareholder meetings and keeping the accounts in order. However, his preoccupation with all aspects of theatrical production eventually made him a leading member of his family's theatre group. In 1898, in cooperation with Vladimir Nemirovich- Danchenko, Stanislavski founded the Moscow Art Theatre, Russia's first ensemble theatre.

  1. Contrasting Lee Breuer and Stanislavski productions

    However, it was also a necessity bred by the emergence of nuance writers like Ibsen and Chekhov, whose work demanded naturalism. Breuer's production of Dollhouse in fact juxtaposes the more romantic melodrama (accompanied by the piano) and a sparse "chekhovian" realism.

  2. Firstly, what does auteur theory mean?

    He described the film as "intelligent entertainment", meaning that it doesn't patronise audiences and there's an agenda behind the film if they want to look for one. He, John Hodge and producer Andrew MacDonald all wanted the film to be a partnership of 3 performers.

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