• 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. 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. The Caucasian Chalk Circle - Exploration Notes

    Behind everything on stage there is a meaning, which means that, for example, if a set is predominantly red, it may possibly denote love or passion or hate and pain - also, if the set's sparse, with a few simple objects scattered around, and the characters costumes are also simple,

  1. The Devising Process

    In the 'Prison Conditions' scene, some actors were required to double up as other characters. Costume aided this and with the use of a simple cloak, headscarf or coat, the characters had identifiable changed. Using costume such as this also helped portray an atmosphere of cold, terror and empathy as

  2. Konstantin Stanislavski (1863 - 1938)

    He discovered that there is no inner experience without outer physical expression, but if an actor on stage performs only physical actions, this violates the psycho-physical union and her performance is mechanical and dead. 8. What did Stanislavski mean by the term Given Circumstances?

  1. Konstantin Stanislavski.

    but by all your creative forces, all the elements of your inner creative state on the stage together with your real life in the sense of the play Therefore, to follow the teachings of Stanislavski it is necessary for the actor to totally immerse himself, body, soul and mind, in the part that he is playing.

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

    We did have the problem of who would play the mother in the scene where the girl was getting kicked out of the house, because everybody except Kayleigh was busy playing parts right after this scene finished, and she felt she had too many parts already, but we solved the

  1. Contrasting Lee Breuer and Stanislavski productions

    The boundary between actors and audience is constantly transgressed. The pianist, at first a passive observer, is sucked into the nightmarish action of the Tarantella. In the final scene, Nora is placed on one of the balcony boxes of the theatre, overlooking the audience, while behind the stage the balconies are replicated housing puppets who act out the scene simultaneously.

  2. A successful performance by a famous actor- I have chosen the actor, Dustin Hoffman, ...

    ? contradicting that of a typical man; and consequently contributing to the innocence of the character he is trying to portray. Furthermore, his arms are kept relatively close to his body - his elbows are bent, facing his arms upwards towards his head.

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