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

the magic if drama

Extracts from this document...

Introduction

Explain the importance of the Magic If and Given Circumstances to Stanislavski's Psycho technique. Constantine Stanislavski is a man whom is a great insperation to all aspiring actors. He believes in a variety of techniques which allows the actor to create total realism and focus on stage. I am now going to talk about the Magic If explaining what it is and how it is important for the actor to under-go. If the Magic If were to be studied successfully then as an actor i should be able to make any character I play believable - not just to the audience, but to myself. I am aware of the work of Constantin Stanislavski, but I've never really looked into detail about his 'System'. Stanislavski believed that acting should not be thought of as 'imitation' but as a 'process'. It isn't a matter of external control, technique, and skillfully reproducing an experience but creating and conveying inner life, a sense of 'being', not 'playing'. As an actor, I have to create 'organic' links between my own personality and the character I am playing. Although I must believe that I am that character, in that time and in that situation, it must be remembered that I mustn't forget who, as an actor, I really am. ...read more.

Middle

To begin with, I would create a very small circle around me, focusing on myself and character, what I'm wearing and what I'm doing. Then I would spread the circle farther away, drawing in nearby objects and props or any characters stood by. Finally I would spread the circle around the stage, focusing on everything there and knowing where everything is. To practice this I would stand in a room and go through the procedure of expanding the circle, and being aware of what's in the room I'm in. I would practive this in the Art Centre as it is generally a large room and I would have to emphasise my movements and voice so all 3 sides of the stage could hear/see me. Stanislavski also calls for the use of the 'Emotion Memory'; "Just as your visual memory can reconstruct an inner image of some forgotten thing, place or person, your emotion memory can bring back feelings you have already experienced." You would think that this would give a more emotional performance and convince the audience that the character is 'real'. However, the use of your emotional memory with a character may end up with you not acting at all, but saying the words from the text as you bring up all your past emotions. ...read more.

Conclusion

This can lead to an interesting performance as the two tempo/rhythms contradict each other and i believe this creates a stronger visual impact on the audience. The whole System was designed to allow characters to become more indepth and Stanislavski spent many years trying to studying and experimenting with his System. Studying it you can initially see where he was heading, the only problem being the length of time needed to complete the system, with a character. Unfortunatly, we havn't got the required length of time available to us, so it is of great difficulty to fully study and complete Stanislavski's techniques. However, Stanislavski's ideas for realism and naturalism were a great influence on this last century, and parts of the System are still used today in rehearsal time when creating a role. The Magic If has had a great impact on all aspiring actors as it has taught us how to develop our roles to create the most realism possible. Stanislavski's techniques are of great importance as they truly indicate to the actor how to portray their characters role by looking at their personality and studying how they move around stage as a person. In conclusion, the 'Magic If' is very important for all actors as all mainstream actors follow the system and Stanislavski has become a big rolemodel to many because of it. By Scott Burnam-Richards ...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 ...

    There is no such thing as actuality on stage.' And this is true even when acting events in history, as the actor still has to imagine what it would have been like and ask questions about the character, as with the bird i.e. why am I here? It is not merely about the actor learning his lines as these

  2. ' Stand Up, Al ' AS Drama Portfolio

    We decided that the best way to portray that Al was insane without actually saying it was to show scenes of what he thought was happening. We then threw in little hints that Al was really in a mental institution and what the audience was seeing was only what Al believed was going on in his head.

  1. How far does Act 1 of "The Crucible" prepare the audience for the drama ...

    You can tell Elizabeth is unaware of this completely as she say, "What signifies a needle?" All the meanings for "The Crucible" are shown in this play cleverly. The vessel is represented by the high emotions. The particular meaning however seems to be the test or trial as the play

  2. Film Studies The Studio System

    Warner Brothers: Actors--Humphrey Bogart, Edward G. Robinson, Jimmy Cagney, Bette Davis, Errol Flynn, Peter Lorre. Classic Films from the Hollywood Studios, 1934-1946 YEAR FILM DIRECTOR 1934 It Happened One Night Frank Capra 1936 Mr. Deeds Goes to Town Frank Capra 1937 Captains Courageous Victor Fleming 1939 Stagecoach John Ford 1939

  1. As a director, how would you use Stanislavski's ideas on relaxation, concentration of attention ...

    Not all performances allow for this approach to attention, as some may require the need to monitor the audience and connect with them. This would be the case when a speech is delivered directly to the audience. Or in the case of a comedy, an actor needs to observe the audience reaction and alter the performance.

  2. My drama script

    And you are seeing the guy tonight, he is here waiting for you, now go in, am going out, I will be back soon. Lucy: Mum, don't go Nell: Oh, am Nell, and you are Lucy: (No answer) Nell: Lucy right?

  1. my drama group have been studying Brechtian techniques through a number of workshops based ...

    In workshop two we studied "Archetypes". This means an establishment on a simple clear character. This technique played a big role in Brecht's plays and performances because it made the audience aware of who was who incase a role change was to occur.

  2. Deliberate Alienation: Surrealism and Magical Realism

    protected from the vices of time and the habits of the birds. . . . Many years later Colonel Aureliano Buend�a crossed the region again, when it was already a regular mail route, and the only part of the ship he found was its burned-out frame in the midst of a field of poppies.

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