Konstantin Sergeyevich Alexeyev later changed to Stanislavski, was born on January 5th 1863 in Moscow, Russia. The Alexeyev Circle was a theatre company formed by his family in 1877 which Stanislavki became an important part of.
Stanislavski believed that actors had portrayed characters from an external point of view. A sick person looks like this so that is how I will act. He believed that actors should look at internal aspects of characters, how they feel, react and behave.
If you are asked to portray a death scene then you must draw on personal experience that might be relevant to that scene i.e. what did you do, what were the emotions you were feeling, what did you say to other people? If you have not had direct experience then you must ask people who have has those experiences and IMAGINE how you would react then place yourself in that situation, ask yourself the MAGIC IF. Stanislavski wants actors and the audience to experience real EMOTIONS.
If I were to play a character that had just robbed a bank and was on the run from the police, would I be able to act without looking false. I have no experience of this, so emotionally I can not relate to it, the experience that my character is facing is outside my personal experience. This is where I would ask myself, “What IF I were in this position what would I do?”
Stanislavski teaches that an actor should approach a role asking the question, “What would I do IF I were in this characters particular situation?” This is where the Magic If is put to use. The Magic If allows the actor to explore new emotions that they may never have experienced before. This method can prove to be helpful during any improvisation games e.g. what IF I just discovered I was adopted? What IF I only have one week to live?
“The actor above all must believe in everything going on around him, and most of all he must believe in what he is doing. And he can only believe what is true. And so he must genuinely feel that truth, look for it and for that he must develop his artistic awareness of truth. He will be told:
‘Rubbish! What kind of truth do you call this, when everything on stage is a lie, a fake- the set, colours, make up, costumes, props etc. What kind of truth is that?
But I am talking about another kind of truth, the truth of my feelings and sensations, the truth of the inner creative urge that is desperate to find expression.” (J.Benedetti, Stanislavski An Introduction, 2000, p35)
Stanislavski believed that actors had portrayed characters from an external point of view. A sick person looks like this so that is how I will act. He believed that actors should look at internal aspects of characters, how they feel, react and behave.
If you are asked to portray a death scene then you must draw on personal experience that might be relevant to that scene i.e. what did you do, what were the emotions you were feeling, what did you say to other people? If you have not had direct experience then you must ask people who have has those experiences and IMAGINE how you would react then place yourself in that situation, ask yourself the MAGIC IF. Stanislavski wants actors and the audience to experience real EMOTIONS.
If I were to play a character that had just robbed a bank and was on the run from the police, would I be able to act without looking false. I have no experience of this, so emotionally I can not relate to it, the experience that my character is facing is outside my personal experience. This is where I would ask myself, “What IF I were in this position what would I do?”
Stanislavski teaches that an actor should approach a role asking the question, “What would I do IF I were in this characters particular situation?” This is where the Magic If is put to use. The Magic If allows the actor to explore new emotions that they may never have experienced before. This method can prove to be helpful during any improvisation games e.g. what IF I just discovered I was adopted? What IF I only have one week to live?
“The actor above all must believe in everything going on around him, and most of all he must believe in what he is doing. And he can only believe what is true. And so he must genuinely feel that truth, look for it and for that he must develop his artistic awareness of truth. He will be told:
‘Rubbish! What kind of truth do you call this, when everything on stage is a lie, a fake- the set, colours, make up, costumes, props etc. What kind of truth is that?
But I am talking about another kind of truth, the truth of my feelings and sensations, the truth of the inner creative urge that is desperate to find expression.” (J.Benedetti, Stanislavski An Introduction, 2000, p35)
The Magic If asks the actor to begin their work by asking, "What would I do IF I were in these circumstances?"
The answer to this question can be a selection of creativity and inspiration, because it allows the actor to realise the fact that they are living out a fictional life, a figment of the authours imagination.
TEN GOLDEN RULES FOR VOICE
TEN GOLDEN RULES FOR VOICE
1. Voice can never be isolated from the rest of your body- An actor must exercise voice, mind and body together.
2. Vocal work should begin with RELAXATION. Otherwise tension and stress will affect yourbreath and therefore you will have a negative effect on the quality of speech.
3. Tension gathers in the shoulders and neck and this can restrict air flow.
4. Breath is the starting point for all sound.
5. Breath should always be supported by the DIAPHRAGM.
6. Vowels are BREATH sounds and are not articulated.
7. RESONANCE is what makes sound audible.
8. When sound is articulated it becomes speech.
9. Clear and accurate articulation is the sign of a trained voice.
10. Your natural accent is distinctive and valuable- S.B.S (Standard British Speech) is just another accent which you should learn.
Akashdeep Heer
2 comments:
Coach Ted T.introduced me to this exciting method at no cost this weekend in Santa Monica. I witnesessed his extreme talent to direct using his ability to bring lead character qualities to the talent in the room.
Coach Ted T.introduced me to this exciting method at no cost this weekend in Santa Monica. I witnesessed his extreme talent to direct using his ability to bring lead character qualities to the talent in the room.
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