• 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. You Cannot Act The System- Stanislavski

    the right feel to their character and plot as they will believe it to be true that the character would act a certain way when challenged with "if". If an actor only skims the surface of the truth and belief, they cannot expect an audience to have full belief in their character if they do not themselves.

  2. Contrasting Lee Breuer and Stanislavski productions

    He named Meyerhold, a pioneer of symbolism and constructivism who experimented with another Ibsen play Hedda Gabler, as his "sole heir". It is hard to say then, whether Stanislavski would have lauded or lamented Breuer's avant-garde production. Stanislavski was a conservative director; he allowed the play to retain its integrity, rather than reinterpret it too drastically.

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

    Stars were formed and films made that would appeal to this new phenomenon: 'Brando is symptomatic of the period that produced Montgomery Clift, James Dean...all of them brooding, ostensibly inarticulate types who suggested a scandalous sexuality and who signalled American entertainments drift toward adolescent audiences in the decades after the war'.

  2. Performing arts skills

    Another is that I can change the tone and dynamics of my voice quickly and fluently which is useful if I am saying my thoughts aloud and they are different to what I am saying to other characters, like I did in my GCSE piece, this is very useful when doing voice work.

  1. How did group skills contribute to the development of the drama?

    It helped us understand each other's sense of humour and our acting dynamic. After this scene it was clear that we were on the same page regarding material that we'd produced prior to this exercise. Sitting opposite the group of boys was good too as they are very funny people,

  2. The Devising Process

    the characters would cling to their costume; a religious woman in a white coat for innocence, a child hiding being an old headscarf in fear and a wise woman holding on to her cloak. As well as costume, we also relied heavily on sound to help display a piece genuine to its period and in creating atmosphere.

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