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Apr 06, Sleepless Dreamer rated it really liked it. It's remarkable to realize that one guy can singlehandedly change an entire field. I will definitely read one of his books but I was a little intimidated so this was a nice introduction. I did feel like I wanted to hear more about his system and less about his biography especially since it all seems to be "so this play was a huge success, he then did this play and it was a failure, he got sick, he created a new theater, and repeat".
All in all, I love this series. They're always very user friendly. You don't act sorrow, you simply create a sorrowful situation that will lead to your audience feeling sorrow.
He considered his later works as his best. What do they want? Each unit has a physical action but it needs to come from an actual desire. Not too little units, it must stay coherent. Easier to read than Stanislavsky's own books.
Almost as good. Takes Adler's side over Strasburg's, which I like. Mar 04, MK rated it it was amazing Shelves: theatre. Who thought understanding the concepts underneath Stanislavski's method would be so easy?
This book runs illustrations throughout so it feels like you're reading a graphic novel - and maybe you are. Yet you get a comprehensive overview that's easily to follow and understand. A great achievement. Aug 06, Brian rated it really liked it Shelves: theatre , s.
Picked this up hoping to find some methods and exercises that would be useful in teaching Stanislavski's system to high school students. Unfortunately, that's not what this was. What I found instead was an excellent book about the life of Stanislavski and how he came to develop his system. I came away with a better understanding of how to explain his intentions for the system as well as common misconceptions surrounding it , though not so much of how to put it into practice.
Definitely acts as a Picked this up hoping to find some methods and exercises that would be useful in teaching Stanislavski's system to high school students.
Definitely acts as an excellent primer for high school students to read before tackling An Actor Prepares. The simplest way to understand the complicated life of Mr. Stanislavski and his life-long study in the art of acting.
Maddy Auchter rated it really liked it May 31, Mathieu rated it it was amazing Sep 15, Sarah Kuczek rated it liked it May 07, Aaron Bray rated it it was amazing Mar 04, Arvind rated it really liked it Mar 13, Simone Cristina rated it it was amazing Oct 09, Danica rated it it was amazing Aug 20, What if I am in love?
Let your answers inform your performance choices. The Internal Monologue Understanding the objectives and methods of a character allows a performer to create an internal monologue for that character this can be very simple, like a mantra.
Real people typically have a semi-constant flow of thoughts going on in their minds, and the Stanislavski method attempts to create a internal monologue for a character. This technique helps each action feel as if it comes spontaneously, rather than simply because the script says it should happen.
The Stanislavski method maintains that a performer must remain somewhat separate from the character, in order to properly understand his or her motivations and goals. Stanislavsky would watch them acting out mundane tasks such as losing a set of keys or looking for a handbag.
He would watch them run aimlessly around the stage, pretending to tear out their hair or feigning worry. He asked one of his students to imagine that the keys were somewhere in the room. The actress then began to actually search for the keys rather than to act searching for the keys. It is only when the imagination believes that the situation is real that the true feelings of the actress are conveyed to the audience. Example: A volunteer is to act as though they are walking down the street.
The other students then ask This may be, 'What if you were attacked by an old lady'. It may be appropriate that the other student becomes the old lady. Examples include; 'What if you were hit by a bus? Below are four of Stanislavski's acting principles, each illustrated by a simple acting exercise: 1 Using your imagination to create real emotions on stage Stanislavski encouraged his students to use the magic if to believe in the circumstances of the play.
Actors use their imagination to answer questions like: "What if what happens in the scene was really happening to me? Then, invent details about their lives and use observations to make up a biography for each person.
Try to write a similar biography of a character you're playing. In every scene, the actor has an objective a goal of what he wants to accomplish and faces a series of obstacles. To reach his goal, the actor breaks the scene down into beats, with each beat being an active verb, something the character does to try to reach his objective. Here are a few examples of active verbs that can be actions in scenes: To help To hurt To praise To demean To leave To keep To convince A simple exercise to get used to this way of working is to get a piece of paper and continue this list, adding as many active verbs as you can think of, that are appropriate for your character.
The goal is to not use any extra muscles than the ones needed to perform a particular action on stage. They also work on concentration so they can reach a state of solitude in public and not feel tense when performing on stage. In this acting technique, relaxation and concentration go hand in hand. Here's a simple Stanislavski concentration exercise to get started… Close your eyes and concentrate on every sound you hear, from the loudest to the most quiet: a door slamming in the distance, a ruffle of the leaves in the trees outside, the hum of the air conditioner, etc.
Try to focus solely on sounds, excluding everything else from your mind. Next, open your eyes and try to retain the same amount of focus. For example, if their character just walked indoors and it was snowing outside, they may work on an exercise to remember what being outdoors in the snow feels like so they can have a strong sense of where they're coming from. Example: Close your eyes and imagine you are outdoors in the snow, then ask yourself the following five questions: What do you see?
Is the snow pristine? What do you smell? How cold is the air as it enters your nostrils? What do you hear? Is it more quiet than usual? What do you feel?
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