OBJECTIVES OF THE LECTURE… To identify Stanislavski’s techniques and be able todefine them. To be able to apply the techniques to a character. To evaluate the process that an actor must gothrough in order to perform a naturalistic charactereffectively
STANISLAVSKI’S METHOD. NOT to be confused with Method acting (LeeStrasberg). Stanislavski’s method simply asks the performer tocreate a mental link – using the characters thoughtprocess as influence, not using the process itself!
3 CORE ELEMENTS TO STANISLAVSKISMETHOD. Objective: What the character wants Obstacle: What is stopping the character Method: How the character achieves the objective An actor can discover these 3 elements by goingthrough the script and finding the key factors oftheir character.
OBJECTIVE To identify the objective clearly, a scene must bedivided into ‘beats’ or ‘bits’. A ‘beat’ or ‘bit’ is determined by change inobjective. Objectives can be defined as Action Emotion Dialogue
OBJECTIVE WORDS This concept states that it is the actors job tounderstand the key motivation in every piece oftext. If an actor understands the meaning behind eachline, the emotion and action will follow naturally. This is the basic practice in Stanislavski’s Method.
SUPER OBJECTIVE This is a constant objective, everything in the piecedrives towards this super objective. Examples of a super objective: Revenge in Hamlet Consequences of Actions in Romeo & Juliet Contrast in Social Class in Blood Brothers
GIVEN CIRCUMSTANCES These are the facts given to the actor by theplaywright in the text… THEY ARE UNCHANGEABLE!! These can be any number of things: Date/Period of piece Location Gender, name and age of a character Social class
OBSTACLES AND METHODS WITHIN A SCENE An obstacle is what prevents the character fromreaching their objective. Obstacles can be a greatnumber of things. E.g. A man is making a cup of coffee (Objective), thekettle is empty (Obstacle). These obstacles can be dealt with in 3 different ways. Give up on the objective. Find a way around the obstacle. Carry’s on regardless of the obstacle. A characters reaction to an obstacle is key todiscovering their base. If they give up, we know thatthey are likely to be lazy, easily discouraged. This is key to Stanislavski’s Method, as it’s basis relieson defining how and why a character gives a specificresponse
INTERNAL MONOLOGUE This is also known as ‘Subtext’. Actor’s must understand the internal monologue –the meaning behind the text. To truly understand the characters reaction, wemust understand the reasons for this reaction. Bylooking at subtext we are able to decipher thesemeanings. Some reactions natural while others arespontaneous – this is known as semi-constant flowof events. These spontaneous actions often differafter each performance of a piece, creating afeeling of reality. Stanislavski’s Method attempts tomimic this reality.