Stanislavski's ideas, theories, methodology and pedagogy still underpin all modern performance theory.
As we go through our learning together we will always share the workload.
You will learn more from each other than you ever will from me, and that is how it should be!
Each of you is to complete a piece of research into one of the areas of Stanislavski's system which are listed below.
You are not to copy and paste; I will put random sections into a clever search engine which will tell me whether you have plagiarised work and where from.
Write about what the term means; what you understand it to mean; your thoughts and opinions on it.
Try to complete all the terms between you. Feel free to comment on each other's posts.
Once you have completed 'your bit' keep checking back to see the progress; everyone should check in before the next lesson.
Elements of The System
Communion
Emotion Memory
Given Circumstances
Imagination
Magic If
Objectives
Super - Objective
Relaxation (of Muscles)
Symbolism
Tempo -Rhythm
Units / Episodes
Through Line of Action
Try to take pleasure in the gathering of knowledge.
tempo rhythm is how actors have developed their tempo aswell as their rhythm to go with how their line are supposed to be said so they mold them self to what they are saying. i understand the term, to mean learning new nervous actors how to keep their tempo to the type of character they are playing, some new actors tend to speed their lines up because of nervousness. i think its a good technique to know so you can always adapt your self to the role u are playing.
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ReplyDeleteImagination is the study of the grammar of a language, grammar alone doesn't guarantee beautiful writing, but by using imagination any actor can adapt a performance into a theatrical reality. This plays an extremley big part and also makes a performance more intresting.
ReplyDeleteThe Emotion and memory method required by actors help to bring in past experiences for example; emotions and memories in a way that could shape the way they were playing/performing a chracter, the way they could move talk or say a line which could also link in with adaption thinking before sayin something by thinking about how your chracter would have sed a line. (apparantley) Stanislavski found this method best suited to re-inventing emotions for performances
ReplyDeletesorry about the essay!!!
Given Circumstances are frames in which the actors have to act. This frames are about story, topic, characters, situation, mood, place, time and so on. Within these frames an actor can act freely. In my opinion given circumstances are a support and help for an actor.
ReplyDeletethe through line was first suggested by constantin stanislavski as a simple way actors to think about characterisation. stanislavski suggests that actors should not just understand what the character is doing and trying to do but should also approach a role as directly as possible, and then see if it 'lives'.
ReplyDeleteThe Magic If
ReplyDeleteThe magic if is the basis of assuming the mentality of a character. An actor asks 'If I were there, what would I be thinking and what expressions and actions would I use to show this?' because this would then make the realism apparant on stage. Stanislavski did not require actors to be the part, which is a popular misconception, but he did demand that they lived the part with the magic if.
a superobjective is where a character is most driven in the given world of the play or the accepted world of the production complany. the throughline is the sequence of beat objectives towards serving the purpose of the superobjective.
ReplyDeleteDefinition of communion-intimate communication/ association and sharing
ReplyDeleteQuote that sort of helped me understand-“If communication between persons is important in life, it is ten times more so on the stage.”
Stanislavski said that an actor would have to commune with other cast members and be aware of the relationships between their characters at all times in order to communicate indirectly with the audience.(Conveying the story, emotions e.t.c?)Through Unbroken communion between the actors would keep the audience interested and suck them into the performance-almost like suspension of disbelief?
Practicing dialogue with another character will strengthen communion. I think this might be because the better the chemistry between actors, the more relaxed and believable the relationships between their characters will be.
I know I rambled, but this one was hard to understand!
Units and objectives are small parts of a scene used to help an actor/actress achieve a sense of realism in their performance. The play will be broke down in to these units of action, the objectives will be the focus point of the units and once this desired outcome is reached the unit ends.
ReplyDeleteCommunion is were an actor is aware of their role in the cast and they practice and share his/her dialogue with other members of the cast. The actor communicates by showing all his senses to other actors so that they know better what they are trying to express.
ReplyDeleteThis communion between actors provides a good relationship were they know each other better and are able to understand each oher. I think dialogue between people is important especially when you are an actor so that the relationship is strengthened.
Symbolism;
ReplyDeleteThis is the definition of symbolism; a system of symbols and symbolic representations
and the practice of investing things with symbolic meaning.
I believe symbolism to be the use of an image or a thing to represent something else.