Stanislavski - The Deviser of a System.
Much has been written about Stanislavski (see Cooper and Mackey, Theatre Studies, for example), the deviser of a system which promoted radical changes in actor training and which continues to have an influence today. Reacting against the artificial acting styles of his contemporaries, Stanislavski argued that the aim of theatre was to be a truthfull expression of life on stage. Truthfull acting could be encouraged through exercises which developed the actors entire physical, emotional and spiritual being.
In 'An Actor Prepares', he advocated;
- Using the imagination to answer the questions 'who, what, why, when and where?' to build a specific physical and emotional profile of the character;
- Using the 'magic if' to ask: 'what would i do if those circumstances were real?';
- justifying the characters actions by asking 'What do i want?' where the answer provides the characters objective, motivating his or her action;
- Dividing the play into a series of 'units', each with seperate objectives to be analysed in detail;
- Linking these units by an unbroken through line, leading to an ultimate 'super-objective'. this ensures logical progression between all units within the play, and the matching of the physical acting style with the style of the play and the directors concept;
- Drawing on personal experiences and the emotion memory links which are to be found between actors and their characters. This enables actors to breathe life into the 'inner images' of their characters. At the same time, the actor maintains concious control of the character played;
- imagining an invisible so-called 'fourth wall' between the stage and the auditorium;
- daily relaxation exercises for the release of vocal and physical tension, in preperation for the physical and psychological demands of the performance.
(Mackey, S (1997) Practical Theatre; A Post 16 Approach, England : Stanley Thornes LTD)
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