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

What skills did Stanislavski think a successful actor needed?

Extracts from this document...

Introduction

What skills did Stanislavski think a successful actor needed? Constantin Stanislavski was really the first to introduce a definite method that can be employed in specific ways for any given role. He revolutionized the way we think of acting and felt that an acting technique is absolutely essential for the actor's continued growth as an artist. A successful actor needs three things: a vivid imagination, a desire to perform and a dedicated commitment. Another point an actor should be aware of is, that it is the responsibility of each actor to examine the techniques, and make informed decisions, in order to better his performance. A definite technique is what actors need most and the more talent an actor has the more he cares about his technique. He uses many aspects in his system to help the actor prepare for a role and the imagination plays the biggest part. The imagination is the formation of a mental image of something that is not perceived as real and is not present to the senses. ...read more.

Middle

If the student responds thoughtlessly, he wouldn't accept the answer. Then, in order to give a more satisfactory answer, the student must either rouse his imagination or else approach the subject through his mind, by means of logical reasoning. Work on the imagination is often prepared and directed in this conscious, intellectual manner. The student sees something, either in his memory or in his imagination, certain definite visual images are before him. For a brief moment, he lives in a dream. After that, another question and the process is repeated. So with a third and fourth, until I have sustained and lengthened that brief moment into something approaching a whole picture. Concentration is another important aspect of an actors success in his ability to remain focused on the reality of the stage. This allows the body and emotional responses to be more free and spontaneous. In the reality of everyday life, people are always concentrated on something, whether it be an inanimate object, a thought, or a physical feeling. ...read more.

Conclusion

Another quality that works in conjunction with concentration is the actors ability to relax. Relaxation was necessary for the actor to reach his potential. Of course some amount of tension is required in order to support our bodies. Stanislavski refers to unnecessary bodily tension that cuts off the power of the voice or hinders the actor's natural creative impulses. An actor must be aware of his bodily tension, and can work to diminish it through yoga and other exercises. An exercise to help your body relax is to lye on your back on a flat, hard surface, such as a floor and making a note of various groups of muscles throughout the body that are unnecessarily tense. The places noted should then be immediately relaxed and others searched out. In order to make a sculptural imprint on a soft surface, when we lie down we must rid our bodies of every muscular contraction. That will give the body a better chance to rest and in a matter of an hour or so you can refresh yourself more than by a whole night of lying in a constrained position. ...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 Caucasian Chalk Circle - Exploration Notes

    then this would imply that the location in which the play is set is poor. To understand this, some of the class created costumes for characters in the play and presented them to the rest of the class, and they were judged on whether everybody else thought that the costumes reflected the characters' personality and position.

  2. The Devising Process

    For the desperate sections of the soliloquy, I would use wide eyes and distressed facial expressions to communicate an idea of sadness and in anger, would clench my mouth; partly to create diction, but also to show a sense of disgust, lean my body forwards in frustration and throw my hands out in fury.

  1. Performing arts skills

    An actor's methodology is used to create a characterisation from the actor's feelings, memories and sensory perception. For me relaxation is a key part to focus me into thinking like the character and to release all physical, but also mental, tension.

  2. Konstantin Stanislavski.

    He concluded that unwanted tension has to be eliminated and that the performer at all times attain a state of physical and vocal relaxation. Concentration and Observation Stanislavski also discovered that gifted performers always appear fully concentrated on some object, person, or event while onstage.

  1. 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?

  2. Describe one acting performance which you thought was either successful or unsuccessful, your answer ...

    * There physical and natural skill where also very good these included there miming and gestures with there mimes it seemed the objects/people where actually there and you started to picture what the object/person would look like from the actors gestures and other expressions.

  1. If there is such a thing as naturalistic acting, why do you think it ...

    (Naremore, p197) 1947 saw the creation of the Actors Studio which, headed by Lee Strasberg, heralded the first wave of cinematic method actors to reach Hollywood. Strasberg called upon his students to use the body as a spectacle through their facial expressions, voice and gestures, as well as their movement and posture.

  2. How do you think that Peter Brook has employed the ideas/techniques of the practitioners ...

    Brook does not refer to Stanislavsky as often as I expected in both The Shifting Point and The Empty Space, whereas Mitter's first chapter in his book shows immense comparison between Stanislavsky and Brook. "Like Stanislavsky, Brook believes that the entire corpus of objectively available material on the character...is insufficient.

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