The Use of Stanislavski's Ideas to Guide Actors During the Rehearsal Process
Stanislavski's ideas on relaxation, concentration of attention and
tempo-rhythm went into great detail. He had very distinct, yet simple
to follow ideas on each three, which actors still use and study to
this day.
Stanislavski dwelled on concentration of attention to a great extent.
The use of attention when playing a role was considered very
important. Concentrating on the attention was a skill that came from
practise and focus, beginning in rehearsal and continuing into the
final performance. The theory of concentration of attention is being
able to concentrate on a particular part of the scene, which could be
an object, a physical move or listening to the speech. This allows the
actor to concentrate on the part of the play and know what is going on
and happening around him, so there are no free moments. This means
that each performance is similar, as the same objects of attention
will aid the same actions, movements and speech. It keeps the
performance consistent. Taking the theory of concentration a step
further, Stanislavski devised the 'circles of attention'. This was
where an actor would create a 'circle' in his or her own performance
where they would devote their entire attention. Anything outside the
circle would cease to exist. This would mean the performance would be
totally dedicated, without any disruption from anything else, like a
noise from the audience, or anything out of the ordinary. Not all
performances allow for this approach to attention, as some may require
the need to monitor the audience and connect with them. This would be
the case when a speech is delivered directly to the audience. Or in
the case of a comedy, an actor needs to observe the audience reaction
and alter the performance. This is where concentration of attention
becomes more complex. A performer must be able to split the mind into
two. The first part being committed to the act, the second being able
to take into account any external conditions. As a director, the use
of concentration of attention is important to allow the performers to
act at their best ability. The relevant use of concentration would be
essential. For instance, when playing a singular, solitary part, like
that of Davoren at times in 'The Shadow of a Gunman', the use of
circles of attention would be very useful. Sitting at his typewriter,
attempting to write poetry, he has no interaction with any other
characters, and requires no audience response. Therefore, he can
devote his entire concentration into the role and the scene around
himself. However, if playing the role Mrs.
With such an abundance of parts to be learned and understood performers had to develop a system to remember everything. There is no exact detailed system to how performers did this than just completely taking time to focus on the part. Hogan provides an example from Michael Kelly‘s Reminiscences that is perfect in showing the focus and discipline performers had to have. “Previous to the opening of the newly constructed Drury lane in the spring of 1794 its acting manager. John Philip Kemble, must clearly have had his mind occupied with countless details: the superintendence of a large crew of house servants and workmen, of finances, of advertising, of preparing a spectacular revival of Macbeth.
He also greets and dismisses the audience at the beginning and end of each act. The stage manager interrupts daily conversation on the street. The Stage Manager enters and leaves the dialog. He is also giving the foresight of death in the play. His informality in dress, manners, and speech, connects the theme, universality, of the production to the audience.
In 400-500 B.C. the initial motive for theatre and performing arts was not entertainment, but specifically for the people to see and hear stories about Greek heroes and gods. Oedipus Rex, is known for its horrific plot, but it was also one of the first performed plays. It was controversial and caused distress because the plot contended with their former believe about fate and one's control over their life. Theatre was used to influence the thinking of the audience and forced them to see things from a different perspective not only on stage, but in their life, long after the last scene was performed. This is where communication comes into play because if it is not carried out the way it was intended, one scene or line can change everything. For an actor, paternalism can take place the moment they audition and the script is in their hands. The process begins with reading the physical lines. Once they are read and understood, the creating of the character begins. Whether the character has 2 lines or 100 lines the character needs to be developed. Some of questions that need to be asked and answered are: who is this person, where are they going, who are they talking to, what emotions are they feeling and depending on the feelings, are they showing them through their words or body language? Their specific job is to have an understanding of what the piece is about and
out, it all works as a piece. And you feel that these actors are in this situation and the audience is not
he plays a major part in the play, and appears in most of the major
...amining the masterpiece that is Hamlet, it becomes clear that Shakespeare was a successful playwright because he understood his audience and knew how to connect with them through his work. Even four hundred years after Shakespeare, this is still undeniably a crucial quality in anyone who is required to interact with an audience. Hence, much can be learned from Hamlet and from Shakespeare’s other works of art; the context of his plays may no longer resonate in today’s world, but the methods he used to engage and target the audience are timeless guidelines.
Shakespeare's utilization of acting and actors in Hamlet acts as the entire framework of the play, down to the very structure of the tragedy itself. The characters are given different façades in different situation and whilst interacting to different people. The language of Hamlet is manipulated in order to achieve the profile of the most complex actor of all. However, as the curtain falls, fate has got the better of all of the actors on the stage of Elsinore - bringing an end to the puppet-show.
Good acting relies on a kinesthetic, an intrapersonal, and an interpersonal intelligence, all of which work together to form a creative expression. There exist limitless styles of acting; there is always something to learn.
just as if they were a real community. This would be hard to show, as
of the audience. One of his main aims in the play was to present the
Al pacino said, "The actor becomes an emotional athlete. The process is painful - my personal life suffers". In other words, "Acting is simply more than walking out on the stage" as Dr. Stevenson would put it. It is more than just reading the lines. To be a true actor, I believe it takes inner capabilities such as learning life. In all the books I have read, all the chapters we have reviewed in class, and in all honesty…Al Pacino is an actor I cannot forget.
is an important role in any play, and to be a character and a narrator
When reading the play Woyzeck by Georg Buchner, one must be willing to delve deep into the surreal as well as the confusing and even uncomfortable. The play hinges upon psychology and the fact (one of the few facts found in the play, even) that the main character of the play (Woyzeck) has obvious psychological problems that none of the other characters seem to pay attention to. Psychology is a constant theme in modern drama, and Buchner seems to bring that to the forefront in Woyzeck, especially.
have to act well so as to show audience with out seeming as if they
To understand a play, you must first understand the fundamentals for the play: protagonist, antagonist, exposition, rising action, crisis, climax and resolution. I will examine Hamlet by William Shakespeare. This is a great example for the purpose of this paper it provides a clear and great examples.