Stanislavski and his System Relaxation Exercise Relaxation Circles

Stanislavski and his System

Relaxation Exercise �Relaxation �Circles of Attention

Stanislavski’s System �The system is what Stanislavski developed to enable actors to real and authentic performances. �It focuses mainly on helping the actor recall the emotions needed for the role.

Discuss: these are mechanical ACTIONS – they are representative rather than individual. Pick a statue to hotseat briefly – the actor gives the action purpose and MOTIVATION. Repeat the game, with students supplying their own MOTIVATION for the action. (“All action in theatre must have an inner justification, be logical and real. ” �Musical Statues with actions for freezes eg. � � ballet dancer; karate expert; policeman; doctor; winner of a race etc. Mechanical ACTIONS – they are representative rather than individual. Hotseat, repeat with purpose and MOTIVATION. �“All action in theatre must have an inner justification, be logical and real. ”)

Taking up Space � � � � Stand in a space. Check the exact spot in which you are standing. Think about the position you are in. Walk to a brand new spot in the room and take up exactly the same physical position. Individuals return back to 1 st spot, moving evenly and with the same pace Repeat the exercise – no shuffling or stopping. Movement must be fluent and even. Freeze and hold the freeze. T taps half the class on the shoulder. Those people follow the T to examine the frozen figures. Deconstruct the semiotics: what might the frozen figures be thinking or feeling? How do we know? (This is our opinion from the signs we read on stage. ) Walkers return to their frozen positions and repeat the exercise with the students who were previously frozen as walkers.

Workshopping the idea �We’ve looked at external signs and signals. � � Now let’s explore internal states (MOTIVATION). Take on a frozen physical shape to sum up how their character feels. what are they doing? What might she be feeling? How can we tell? In order to find out. . . Bring the freeze alive for 5 secs. Then rewind to show the 5 secs before the freeze. Discuss what we learn at each stage

Given Circumstances

Given Circumstances �The given circumstances are the character details in the script - the facts the playwright gives the actor. �What has the playwright told us? �Location of the play? �Time/period/year it is set? �People in the play?

� The given circumstances are: � Place - (where the scene takes place) Sensory Elements - (heat, cold, looking out a window, physical handicaps, etc. ) Relationships - (to the other characters and to the "event" of the scene, what others in the play say about you, etc. ) Period - Specific choices regarding the period of the play

Adding layers into a performance � ROLES: Man and girlfriend � GIVEN CIRCUMSTANCES: He is 28 and she is 26; they have been together for 2 years; they don’t have much money; he works in a pub. (Context) Present day; the action is in their flat in London; 6 pm (Set) Suggestions? Man’s MOTIVATION: to go to work � � Improvisation – 2 people.

Develop this as a pair �The improvisation is quite SUPERFICIAL at the moment because we don’t have much information to go on. �This is where Stanislavski used WHAT IF statements. . .

The What Ifs. . . � What if: the girlfriend knows there is an attractive waitress working at the pub and she thinks her boyfriend might fancy her? � What if: she is pregnant? � What if: the girlfriend has hidden the car keys? � What if: her MOTIVATION is to sort out the relationship problems? � What if: the boyfriend has had a warning for lateness and it’s his last chance or he’ll be sacked?

Actions reflect the motivation �The boyfriends motivation is to go to work. You will have decided the girlfriend’s motivation by now. �You must think of ACTIONS that your character will use that highlight the motivation, for example, the boyfriend is looking for his keys because his motivation is to get to work.

What now? �The couple have split up. The man has returned the next day to the flat to get something, believing his ex-girlfriend to be at work. � Each character has 3 lines of dialogue.

Reports 3 -5 Demonstrates a limited ability to become and sustain a character. Unable to keep focus. Demonstrates limited p erformance skills includi ng vocal and movement which may be inappropriate to the style and meaning of the script 6 -8 Demonstrates an adequate ability to realise and sustain a character. At times shows inconsistenc ies in focus. Demonstrates adequate performance skills including vocal and movement appropriate to the style and meaning of the script, but which vary in their level of delivery in relation to the conventions of voice a nd physical acting 9 -10 Demonstrates highly dev eloped ability to realise a nd sustain a character. Effectively keeps focus whilst demonstrating highly developed performance skills including vocal and movement appropriate to the style and meaning of the script, although some skills may be more refined than others.

Using Stanislavki’s System � � � � Been there Before A: B: You think I don’t know, don’t you? You tell me. Does it mean that much to you? Possibly. We’ve been all over this before. This will be the last time. . . In pairs, create the given circumstances for this scene: who the characters are, when and where the scene is taking place, why the characters are there etc. Improvise the lead up to this exchange, to create the before time of the scene. Give each character their task, an action, and the motivation for doing it (what do they want from the other character). Each character must have an objective The characters have to decide where they have just come from, where they are, what they are doing, why they are doing it, when it is happening and where they are going with the conversation. You can hotseat each other for further information; you can include thought tracks to show the thoughts and emotions of the characters at key moments.

� 1: To evaluate your physical Theatre piece, talking about what went well in your group, what each of your group did and how you did it � 2: Write what a given circumstance is.

Checklist for each group Thing to Include Created given circumstances? Created the before time of the scene? Given each character their task, their action and their motivation? Each character has an objective? Hot seated each character? What is it?