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KONSTANTIN STANISLAVSKI
The Grandfather of Actor Training
Konstantin Stanislavski (h. 1863 - d. 1938 grew up in a
privileged family environment and became one of the most
important Directors/Actors in history,
Stanislavsk was greatly influenced by Mikhail Shchepkin, an
actor who discovered realism after watching a performance in
which one of the actors used simple yet effective technique
which was completely at odds with the popular acting style of
the time. He was fascinated by how affecting this actor was, and
once he unlocked the way to achieve this same quality in his
own acting, he became one of the most highly revered actors of
his time. He died on the day Stanislavski was born.
Stanislavski founded the Moscow Art Theatre, with Vladimir
Nemirovich-Danchenko, a well-known playwright and producer
of the time. In a meeting that lasted 18 hours, the women
addressed what each of them felt were essential elements of
theatre and performance. The end result was the birth of the
Moscow Art Theatre
After a highly successful production of Anton Chekhov's play
"The Seagull, Stanislavski became known as Chekhor's
definitive director, and the Moscow Art Theatre the definitive
company for the production of his works. In the past, directors
had produced Chekhov's plays using the popular style of acting
which relied upon declamation, stars and gimmicks.
Stanislavski brought Chekhov's plays to life by taping them in
a more realistic way, with the actors playing their characters
realistically instead of in a declamatory way. To achieve this
realistic idea of creating theatre, Stanislavki's production of
Chekhov's plays used sound effects, realistic sets and the actors
utilized truthful emotions. This production of The Seagull
stamped the MAT in history and established Stanislavski's
reputation as director and actor. The impact of the play on the
company was so significant that the MAT's symbol became a
KEY ELEMENTS OF STANISLAVSKI'S
SYSTEM
Actors must develop the skills of relation, physical fitness
and body movement, breath and voice.
Actors need to develop a theatrical sense of self through
Concentration, Imagination and Communication
Actors need to be multi-skilled, studying history, art, music,
and literature spending time investigating the plays and
characters they were reheaning
Actors must research their character and the world of the
play to discover behavior, background social standing personal
relationships
anything else that can give clues as to how the
character lives and behaves within the play.
The actor must focus on what they are actually doing in a
the problem they are solving or the task they
moved to complete
must be broken down in to sections of action - bits
for bets and pieces - and each actor must break their
characters beats of action down to enable them to find the are
or journey of the character. Bests and Pieces can be named to
identify the essential content of the scene.
IN CONCLUSION
Above all, Sunislavski wanted his actors to be believable and
represent real life behavior, not false or over the top imitations
He wanted the world of the play to be realistic and to reflect the
world that the wodience was familiar with, and wanted his
actors to work together as an ensemble to create a unified
vision. One of the most famously quoted saying's from
Stanislavski is "There are no small parts, only small actors
We can see even from this brief overview of Stanislavski's work
the profound influence he has had on contemporary acting.
theatre and film. Without his discoveries, research and
developments, acting as we know it may not exist
seagull
The steps to a Basic Stanislavski Analysis
Given Circumstances
Factual information provided by the playwright, director
actor, that pertains to the relationships, location, environment,
time, situation, social/political/religious environment of the
play. Most efficiently broken down into
Environment, Relationships, Situation
Action, Objective and Super Objective
These are the elements of the analysis that identify what
character is aiming for during a scene and/or play. The Action
is what the character in question is seeking from the other
character or characters in the scene. The Action must relate to
the immediate moment, and must address what they want the
other character to understand or do in the scene or beat
The Objective relates to the immediate future - what will
happen after the Action has been achieved?
The Super Objective looks to the more distant future, and
identifies the long term goal that the character seeks for their
future,
Examples below are for the Romeo & Juliet
balcony scene.
Given Circumstances
Relation (who is in the scene and what is their relationship)
Juliet has recently met Romeo a family party in her home
They have shared a kiss
Environment where are they and what is there relationship to the
location?t Juliet is on the balcony off her bedroom, it is a
familiar environment for her: Romeo is on the wall of the
Capulet chand from where he can see Juliet's balcony window,
it is a dangerous place for him to be as the Capulets are
enemies to his family
Sinto what has happened leading up to this moment
Juliet's family have thrown a party for her, introducing her to
society. During the party, Romeo and his friends snuck in and
Romeo et Juliet on the dance floor. They danced and shared
a kiss. Romeo left the party and has left his friends to go and
see if he cas Juliet anywhere on the property. Juliet has
retired to her bedroom where she has been daydreaming about
Action what the character is trying to achieve in the scene
To get the other character to understand or do something
es. To get Remco to understand that he must prove his love for
Objective why they need to achieve this:
So that song in oras cancer is the immediateur
cs. So that I can have a friend and confidante for my own.
Super Objective the overriding reason the for Action and
Objective
So that. Important can occur in the distant future
eg. So that we can get married and bring our families together.
Tactics (the tools used to achieve the Action)
A list of Transitive Verts that the actor engages in throughout
the scene e to, to bewitch, to chastise, to inspires
, to invite to
quiet, to permit to protect, to want to divert, to die, to encourage, to
Rece
Tactics
Tactics relate to the moment to moment intentions that helps
actor to achieve their Action, Tactics should be listed as
transitive verbs (ie. verbs that can be done to another person).
and should represent the way the actor deals with his/her co
actor/s in each moment.
Prop
stereotypical diva or demanding actor. If love should bloom while in a show, great
Keep it outside! If you have a personal struggle, sorry, but keep it outside. You
were hired for your performance abilities; perforn.
This is a nisomer. The stage manager may set any reasonable arrival time for any
actor in any show. You should welcome your time in the theatre. So get there early
there are many things to do.
There are two major rules here-sever play with a prop and always check your prope
before each show (luckily you got there before "half-hour"). Those two rules seem
instantly understandable but are rarely followed. Follow them. The first night you
discover the climactie letter in your pocket missing before your entrance, you'll
understand
There are sick days built into many contracts use them when you NEED to.
M Libe and changes to the seript
As the performance wears on, you may feel that you understand the character better
than the playwright. You don't, so quit making up lines.
Opening Night
Congratulations! Have fun at the party but remember, you have a show tomorrow
night.
Marking Performance
The Lone audience member today paid the same ticket price as the full house that
loved your performance last night. You have a responsibility to all involved to
perform the show as rehearsed and to do your best. If that doesn't way you, that
lone wadience may be someone important in the business. Now, you're listening.
Maintaining a Performance
You can look at a long run either as a chore or the world's best acting class. You
get to ply your craft and test your choices in front of an audience (Why did I get
that laugh last night and not tonight?"). Quit complaining and stay fresh. There
are worse things than having a job.
Respect
our final category is perhaps the most obvious and the most abused. Me appeal only
to the best of reasons for having respect (Rennber, nothing spreads faster than
your reputation)
• For statt - They can hire you again
For Crew
- They can hurt you
For Directors. They can make your life miserable
• For Designere - They can make you look stupid
• For Actor' quity - They can upotage you
For Yourself - That means value your contribution to the show by following
the above yidelines and taking care of yourself when rehearsing and
performing. Keep healthy throughout the run
You were chosen over many other actors for this role, respect yourselt and live
up to everyone's belief in you.
Actors' Equity Actors' Etiquette
These guidelines are courtesy of the actors' Equity Education Department,
membership should abide. Most of these you know they're just common sense to when
you are lucky enough to work, follow these simple rules
You've heard about it your whole life and being a professional means there are no
exess or lateness to a rehearsal or performance. There are noments when a real
crisis may disrupt you from your appointed arrival tine, so plan for those moments
by arriving well before the designated time. Those extra minutes will allow more
time for warm-up, build an ensemble, or get you in the right frame of mind. It
Lateness is truly unavoidable, you must call your stage manager funny, they're
never late) and let him or her know your expected arrival time
Read What You Siga
Even though Iquity's major benefits are our negotiated contracts, business
representatives, and member services, read everything you are asked to sign, even
from Iaity.
Rehearsals
For many, this is the most exciting time of being in a show. Take time to explore
your character (why do you cross on that line?), fine-tune stage business or
justify your choreography. Even if you can't wait to get in front of an audience,
let those actors who love it, relish it.
Cell Phones
Turn them off when entering & rehearsal or performance space. There are appropriate
time to use then, so hang up!
Notes
Getting The Always be gracious, even if you disagree. Say "Thank you" after the
director gives you the note, or "Hay we speak about this later if you don't
understand or disagree. The sote session is not therapy for your character, but
rather session of quick fixes for many elements of the show. Find time for you
and the director to solve that affect you or your character only.
Giving Then NEVER, did you read that never give another actor notes and never
allow yourself to receive notes from another actor. A response could be, "Thanks
for your help, but I think it's best we do this kind of thing through the stage
manager or director. There is no room for flexibility here. Wouldn't you resent
It?
Costume Pitting
costume fittinge are tricky. Let the designer know your concerne but avoid doing
Mis or her job. Too much unwanted advice to a designer, and you could end up in a
tube top or out of a job.
You know its wrong. Me heard you say it.
Quiet!
Gossip
As you learned in the last rule, sometimes keeping your mouth shut is a good thing.
We will expand on that thene-keep the noise down when you are backstage. Avoid ali
talking and/or whispering some theatres actually do have good acousties. Keep your
voice and laughter down even when in the dressing roon. Like the song ways, ilush,
hush. Keep it down now. Voices carry."
Tech Hebearsals
You know what we're going to say, right? That is the only time the designers get to
fine tune their work with you there. lio, pay attention. Don't disrupt their
rehearsal and stay close to the stage, because they're always going to go back a
few scenes when they resume.
Backstage Drama
Just because we play dramatic characters onstage does not mean we must portray them
off. When you are in a show, the theatre becomes a tiny universe. Remember, it is
temporary, and there is a real world outside those theatre doors. Don't be a