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Stanlislovskis System: Concepts On Acting
Stanlislovski's System: Concepts on Acting Stanlislovski's System: Concepts on Acting The Elements of Style, as described by Sonia More in her simplified view of the Stanlislavski System, are clear rudimentary concepts designed to help actors achieve a profound and truthful portrayal of their character on the stage through personal connection with their character. These concepts are designed as tools for the actor so that he may connect to a character or situation on the stage that he otherwise would not be able to connect with. As Sonia Moore put it, Stanlislovski knew that an actor's mind, will, and emotions must participate in the creation of a live human being on the stage. He also understood that it is impossible for people to turn their thoughts and emotions on and off as if by a switch. He also knew that no actor coming on stage without any reason for experiencing emotions would be unable to do so without some connection, or bridge, to the personal and emotional response of their character. So Stanlislovski designed tool for the actor to use to help him connect with the emotional and physical world of his character. Such concepts as The Magic If is a clear example of a tool an actor could use to connect himself the life of the character. The Magic If, simply guides the actor to ask the simple question: "What would I do if I were in my character position?" By asking this question of himself the actor can personalize the given circumstances of the character. The situation of the character becomes more personal, and the stakes much higher, because the actor has divulged some particular issues of himself into the character. Due to these particularities the actor will work out the given circumstance of the character in a much more truthful manner. Even in acting the old saying goes: "You cannot really know someone until you walk a mile in their shoes." This concept of The Magic If also plays a big part in another Element of Action -Imagination. Imagination is another tool that allows the actor to build a substantial relationship with his character by creating the very universe in which his character resides. Through this artistic imagination the actor can create the past, present, and future of the character. The actor, in essence, could play God wherein the character is concerned apart from given circumstances or the circumstances that exist within the play. This artistic imagination is being used to give thoughts and feeling to the character being portrayed by simply infusing honesty and truthfulness into the actor's performance. There are other Element's of Actions that guide the actor to form precise, logical and honest connections to the character he is portraying -- Emotional Memory and Tempo-Rhythm for instance. However, the duality of the Elements o... This is ONLY a preview of the article. If you would like to view the entire document, you must subscribe to Academic Library. Please register below now!
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