Discuss Stanislavski's Methods For Creating Truthful Characterisation and Evaluate How Effective They Have Been For You As a Performer.

DISCUSS STANISLAVSKI’S METHODS FOR CREATING TRUTHFUL CHARACTERISATION AND EVALUATE HOW EFFECTIVE THEY HAVE BEEN FOR YOU AS A PERFORMER.

When creating a character, it is important that it is truthful. One way of making sure of this is by using Stanislavski’s methods. Stanislavski came up with many ideas and one of the most important and fundamental one is the ‘Magic If’ and the given circumstance. ‘If’ is the starting point, the given circumstances is the development. Therefore, one cannot exist without the other.

The ‘Magic If’ and the Given Circumstances has been the basis for any of my character there for it is the most important to me. Without it either of the two, there can be no character, only an actor on stage. The ‘Magic If’ has allowed me to ask questions for my character ‘Yerma’ such as ‘what would I do if my husband does not want children and I do?’ Asking these types of questions has helped me to perform my character realistically. This is because I am responding as if I was in that situation. I found using some of Stanislavski’s exercises helped me understand the ‘Magic If’ to play my character better. Exercises such as ‘Find the Brooch’ and ‘Acting Without Motivation’.

The given circumstance adds fact to the character making them more realistic. The given circumstances are based on facts such as events, time and place of action. All this is found in the playwright. However, I need to use other aspects of Stanislavski’s methods to add depth to my character. Using the ‘Magic If’ and the given circumstances is not enough.

This is a preview of the whole essay

One of the most useful techniques of Stanislavski’s method for me as a performer was emotion memory. This is where the actor draws upon their own relevant experiences to enhance their understand of the character. The purpose of emotion memory assists the actor to perform a situation more convincingly as they have drawn upon their own experiences and reactions to similar situations. Emotion memory creates empathy or understanding of your character.

When playing ‘Yerma’, I used emotion memory throughout. ‘Yerma’ desperately wants a child, so I used emotion memory to think of a time I really wanted something and applied this to my character. Because I have felt it, I should be able to show it through my facial expression, body language and tone of voice.

Another one of Stanislavski’s methods is units and objectives. A unit is in the text when a character’s speech can be divided into small sections when change has occurred by thought processes, mood, subject matter, entrances and exits. The objective is what the character wants at that particular time. For example, for ‘Yerma’, I want a child. The objectives of a character links with the unit. The units and objectives both together add richness and complexity that reflects reality. The units and objectives was not one of the most effective for me as a performer. This is because I found it hard trying to break down my characters feelings and emotion because there is so many. However, when concentrating on smaller sections of the text the units and objectives did enhance my performance. So, for me as a performer I believe that units and objectives can be useful in smaller sections, but not throughout the whole play.

Steph Jones SF02 Page