Stanislavski- Method Acting and Its Importance

Stanislavski and The system To become a roaring actor one must erase personal experience and emotions and build their character from nothing. lee Strasburg. Konstantin Sergeyevich Alexeyev was natural in Moscow, Russia in 1863. He was first seen on stage at the age of seven and at the age of twenty-one he changed his stage name to Konstantin Stanislavski. He was founder of the first acting brass, co-founder of the Moscow Theatre (1897), and a renowned practitioner of the naturalist school of thought. In 1987 he besides met Russian playwright, Anton Chekov.Stanislavskis process of character development, the Stanislavski Method, was the means for method acting acting. It was, and still is, the most potent acting system on the modern stage and screen. After enrolling at Moscows turn School, he left after three weeks of not being satisfied with the training. Back then, rehearsals were very casual. Actors would mountain pass on stage and deliver their lines with the text in fro nt of them. There was no attempt in making the acting a earth. He felt the need to change theatre and thought that it was master(prenominal) that the actors skill should involve more than sh bothow techniques.The acting needs to have veridical feeling. To give the audience feeling we must first attain the feeling for ourselves. This is why personal experiences are important as they possess what we have felt in the past, present and future. We can re-collect emotions such as happiness or sadness and use these to act with feeling and convey a message to the audience. human beings have many emotions that they mask at one time. In class, students are shown experiential learning. Methods and activities such as Emotional recall and Lady Macbeth (Act 1, scene 7) can help actors create appropriate actions, thoughts and emotions for certain characters or scenes.In emotional recall, students were to recall something, where at that moment their lives changed or made them feel something t hey would never forget. Most were sad, but people tried to hold back tear bit trying to speak. Most of the time the tears would just eventually flow and this gave students the hotshot of method acting. Collecting personal experiences helped them act with a sense of feeling and emotion. When creating a character you may need personal experiences although, you must wipe out idiosyncrasies to create an original character.Exercises such as slaps and milling and grooving helped students show a part of their idiosyncrasies. Slaps required all concentration and this established how a student would react throughout the exercise. Milling and grooving was being fitting to light up a connection with the look and communicating without speaking a word. These exercises helped maintain control and focus, while showing their idiosyncrasies without realising it. There are many techniques that have been learnt in the Stanislavski system in relation to lee(prenominal) Strasburgs statement. Sta nislavskis method was to encourage actors to become artists in their own right.Stanislavski had to design a method to inspire his three-part System. This is now known as method acting, the mechanisms used to take on a section are varied, but all focus on making an actor put their own experience, belief and feeling into a role. Strasburg taught Stanislavskis system, but is famous for the Method that he developed at the collection Theatre (although the term method acting generally refers to the use of Stanislavskis system in the States Method with a capital M refers specifically to Strasbergs approach). The Method was used to create reality within an actor.Lee Strasberg suggested to the students and theatre film performers to try not to act, be yourself, use gesture in a manner that you use in private life. Stanislavski wanted acting to feel and be real. Some exercises in class were Circle of attention and beats and thoughts. Circle of attention was making a connection with the e yes without speaking, where you had to concentrate on a set of eyes and move when the time was right. There was an inner and out circle. If a student was about to move, the person from the outside circle could tap the student and stop them from moving. This maintain focus. Beats and thoughts is a skill where the actor breaks down a scene into beats or bits, all of a sudden sections that end with each change of objective. Take out all your idiosyncrasies and make characterisation for your role. Break up each line and give it meaning, using pauses where necessary. This will give you the effect you need. We do this, because we must make the piece as convincing as possible and make your audience believe what you are saying, or doing is real. You must incorporate lights and shades for the frolictic side to take effect. You need to be able to hold a convincing tone so the actions can flow when you act.As a student studying drama this made me feel like I could portray or master any ch aracter thrown at me. Beats and thoughts created emotion and characterisation that was needed to create and portray any necessary role. Method acting needs to be portrayed in theatre. Without it, the audience wouldnt be moved by the performance. The world is better for it. Actors can persuade, make people laugh, cry, surprised, frightened, all by using method acting. Lee Strasburgs statement is false although to act correctly you must wipe out idiosyncrasies but uphold the truth (personal experiences) of emotions.This makes method acting the most influential acting system around the world. Bibliography Copyright 2011 Bradley Bishop and Trevor Jones http//www. kryingsky. com/Stan/ story/bot. html (Last accessed 14th March 2012) h2g2 2012 http//h2g2. com/dna/h2g2/A5133151 (Last accessed 14th March 2012) 2008, All rights reserved, Jamactors. com http//www. jamactors. com/articles/method_acting. php (Last accessed 14th March 2012) screen Drama Notes 2012 (Last accessed 14th March 20 12) Shanelle Fairhall