Stanislavski

1,951 views
1,606 views

Published on

0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total views
1,951
On SlideShare
0
From Embeds
0
Number of Embeds
37
Actions
Shares
0
Downloads
44
Comments
0
Likes
0
Embeds 0
No embeds

No notes for slide

Stanislavski

  1. 1. LECTURE NOTES: STANISLAVSKIJune 7th 2013
  2. 2. 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
  3. 3. 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!
  4. 4. 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.
  5. 5. 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
  6. 6. 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.
  7. 7. 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
  8. 8. 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
  9. 9. 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
  10. 10. 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.

×