Applying Stanislavski’s Principles to a Role in Volpone
As founder of the first acting system, co-founder of the Moscow Art
Theatre, and an eminent practitioner of the naturalist school of
thought, Konstantin Stanislavski challenged traditional notions of the
dramatic process, establishing himself as one of the most pioneering
thinkers of his time in modern theatre. His process of character
development, the Stanislavski Method, was the catalyst for method
acting- one of the most influential acting systems on the modern stage
and screen. Such renowned schools of acting and directing as the Group
Theatre and The Actors Studio are a legacy of Stanislavski's
pioneering vision.
Stanislavski developed this unique system of training to change the
way that people saw their characters. The actors would research the
situation created by the script, break down the text according to
their character's motivations and recall their own experiences,
therefore causing actions and reactions according to these
motivations. The actor would ideally make his motivations for acting
identical to those of the character in the script. He could then
replay these emotions and experiences in the role of the character in
order to achieve a more genuine performance. This was Stanislavski’s
main aim to create a more genuine performance.
ACTION
“In every physical action, unless it is purely mechanical, there is
concealed some inner action, some feelings. This is how the two levels
of life in a part (dramatic role) are created, the inner and the
outer. They are intertwined. A common purpose brings them together and
reinforces the unbreakable bond.” - ‘Creating a role’
In Volpone, it would be most likely to happen in the market place. The
busy market place would be played by a group of people that would need
to show a complicity of lives that intermingle with other characters
just as if they were a real community. This would be hard to show, as
they are not a real community. Good methods of getting these groups of
characters to resemble villagers would be to give them little
scenarios to act out in which all the characters intermingle and have
lines to say to each other. This would help them realise each other’s
inner character and feeling and therefore are then able to react in
the way their character would to that situation. Then use what they
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...must find out all he can about the character and the situation. This
helps to create an overall realistic reaction to that particular
situation. To be able to use ‘Magic if’ the actor must know a lot
about his character and his or her personality.
Stanislavski teaches the actor to become the character by asking
questions that are answered by action based on emotional response.
For example, the actor that plays Volpone in the rape scene must ask
before he plays the scene, ‘What if I am Volpone and I am just about
to rape Celia and Benario jumps out from the cupboard? What will I
do?’ Another good question from Celia’s point of view: "What if I'm
Celia and I am being raped by an old dirty man and I have no one to
help me would I give in or stand my ground?
"Magic if" questions contain motivation and awareness of "the now."
The questions are cast in the first person, in the present tense, and
therefore they pull you into the character's major concerns. Very
importantly, the questions suggest not one but two attitudes: The
character toward her or him, and toward other characters. These types
of questions help the actor figure out the action to take in response.
Globalization is defined as the process of interaction and integration among the people, governments, and companies and among different nations. This process has effects on culture, environment, political system, trade system or economic system, human physical well-being, human’s development etc.
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“God knows we shall meet again./ I have a faint cold fear thrills through my veins… (ACT IV, Scene 3, Lines 15-16) Juliet was scared about doing this because she didn't know if it would work right or turn h... ... middle of paper ... ... late!
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