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

Stanislavski sought to create a "sense of truth" in his productions - Explain what he meant by the term and how he attempted to create this truth through rehearsal.

Extracts from this document...


Stanislavski sought to create a "sense of truth" in his productions. Explain what he meant by the term and how he attempted to create this truth through rehearsal. Stanislavski said there were two kinds of truth, the first is 'the one created automatically and on the plane of actual fact' and the second 'the scenic type, which is equally truthful but originates on the plane of imaginative and artistic fiction.' The first kind of truth is created in subconsciously in real life. An example of this truth was the actors were searching for a lost purse, they didn't know the director was watching them but he said they acted with truth. The actors were asked to put the purse back in the same place and repeat the exercise this time it wasn't truthful. ...read more.


Stanislavski wanted to create naturalistic theatre 'A role which is built on truth will grow whereas one on stereotype will shrivel.' He compared a character, a scene, an act or the whole play to a seed. The actors should 'live' the character by feeling and experience the moment rather than demonstrate it. By the acting being truthful the audience are able to feel empathy for the characters and form opinions making the play successful. For the actors to act truthfully they have to use psycho- techniques such as the magic if, this makes the actors prepare internally. It makes the actor place himself in the position of the character they are playing to make it believable. ...read more.


This is of use to us only in so far as it supplies a general background for our feelings '. . . . What counts. . . is not the material out of which Othello's dagger is made, be it steel or cardboard, but the inner feeling of the actor.' The actor also has to perform in a logical sequence so it displays continuity and the audience can see how the character gets from scene to scene. This also helps avoid clich´┐Ż as the audience can see that the feelings of the character have come about from actions before. To portray 'sense of truth' it is essential for an actor to be in touch with their character and be sensitive to the feelings of that character. Once an actor includes a 'sense of truth' and their acting through rehearsal it becomes the best stimulus for imagination and creativeness. ...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. Explain how you would want your audience to respond to Tesman in Hedda Garbler. ...

    But at the news she did it for him, he has "an outburst of mingled doubt and joy" (p. 63). Once he believes that she loves him, he laughs "in irrepressible glee" (p. 63). After some expression of happiness, he thinks of Lovborg, "Great God!

  2. Konstantin Stanislavski (1863 - 1938)

    What did Stanislavski mean by the term Given Circumstances? It was Stanislavski's belief that the performer must conceive of the situation in which a character exists, which Stanislavski referred to as the 'given circumstance' Specific points to consider are: In what kind of space does an event take place: formal, informal, public, domestic?

  1. Konstantin Stanislavski.

    In real life, however, people do not stop living. 4. To develop a strong sense of ensemble playing with other performers in a scene In his training Stanislavski created something called emotional memory where you would have to recall an emotion you've had and put it into action.

  2. Temptation piece. We were asked to think about temptation, and discuss what we were ...

    She is very curious about drugs, she hasn't ever tried them before, but people she knows have told her it's brilliant. She doesn't want to steal from her mother, but she really wanted the money for her addiction. The way she let her mother down was just the wake up

  1. Contrasting Lee Breuer and Stanislavski productions

    Stanislavski further cultivated this through his use of "circles of attention". In this exercise, performers would attempt to constrict their focus to the stage itself, rather than admitting the audience. The object of all this is to create a snapshot of a real world onstage, inhabited by the characters.

  2. Faces of Injustice - An unassuming school productions of a play written by Paul ...

    Authored by Paul Dumol in the time of Martial Law, in the time when a civilian can just disappear for voicing out a protest against the government, the script is riddled with a code that communicated social injustice and the crushing of anyone who dared to hope of rising above it.

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