🎭Acting for the Stage Unit 3 – Stanislavski: Objectives & Actions

Who Was Stanislavski?

• Konstantin Stanislavski was a Russian actor, director, and theatre practitioner born in 1863
• Developed a systematic approach to acting training known as the Stanislavski System or Method Acting
• Cofounded the Moscow Art Theatre in 1898 which became a prominent theatre company
• Collaborated with playwright Anton Chekhov on productions of his plays (The Seagull, Uncle Vanya)
• Wrote several books on acting including An Actor Prepares, Building a Character, and Creating a Role
• Emphasized the importance of psychological realism and emotional truth in acting
• Influenced many notable actors and acting teachers (Lee Strasberg, Stella Adler, Sanford Meisner)

The Stanislavski System Basics

• The Stanislavski System is a systematic approach to actor training focusing on psychological realism
• Aims to help actors create believable, emotionally truthful performances grounded in the character's inner life
• Emphasizes the importance of relaxation, concentration, and imagination in the acting process
• Encourages actors to draw upon their own experiences and emotions to relate to the character
• Introduces concepts such as given circumstances, magic if, and emotional memory
  • Given circumstances refer to the character's background, environment, and situation
  • Magic if involves the actor asking "What would I do if I were in the character's situation?"
  • Emotional memory requires actors to recall personal experiences to evoke genuine emotions on stage
• Stresses the importance of analyzing the script to understand the character's objectives and obstacles
• Advocates for continuous self-improvement and lifelong learning in the craft of acting

Understanding Objectives in Acting

• Objectives are the character's goals or desires that motivate their actions in a scene or play
• Identifying objectives helps actors understand their character's behavior and make strong acting choices
• Objectives should be specific, achievable, and rooted in the character's given circumstances
• Characters often have a super-objective that encompasses their overall goal in the story
  • Super-objectives are supported by smaller, scene-specific objectives
• Objectives can be external (tangible goals) or internal (emotional needs or desires)
  • External objectives might include obtaining an object, convincing another character, or achieving a task
  • Internal objectives could involve seeking love, acceptance, revenge, or inner peace
• Actors should play active, dynamic objectives rather than passive or static ones
• Objectives create conflict and tension when they clash with the objectives of other characters
• Clearly defined objectives help actors maintain focus and drive the story forward

Breaking Down Actions

• Actions are the tactics or strategies characters employ to achieve their objectives
• Stanislavski believed that every action should have a purpose and contribute to the character's objective
• Actions can be physical, verbal, or psychological in nature
  • Physical actions involve movement, gestures, or facial expressions (slamming a door, embracing)
  • Verbal actions include the way lines are delivered or the subtext beneath the words (pleading, threatening)
  • Psychological actions are internal shifts or decisions that affect the character's behavior (realizing, doubting)
• Actors break down scenes into beats, which are smaller units of action defined by a change in objective or tactic
• Each beat should have a distinct action verb that describes what the character is doing to the other (to convince, to seduce, to challenge)
• Actions should be played truthfully and spontaneously in the moment, responding to the behavior of scene partners
• Choosing strong, specific actions helps actors avoid generalities and clichés in their performances

Connecting Objectives and Actions

• Objectives and actions are intrinsically linked in the Stanislavski System
• A character's objectives determine the actions they take to achieve their goals
• Actions, in turn, reveal and reinforce the character's objectives to the audience
• Actors must ensure that their actions align with and support their character's objectives
  • If an action contradicts or detracts from the objective, it weakens the performance
• The interplay between objectives and actions creates a sense of purpose and direction in a scene
• Actors should explore various actions to pursue their objectives, adapting to the given circumstances
• The connection between objectives and actions helps actors maintain consistency and believability
• Objectives provide the "why" behind a character's behavior, while actions supply the "how"

Practical Exercises and Techniques

• The Stanislavski System offers various exercises to help actors develop their craft
• Relaxation techniques, such as progressive muscle relaxation, help actors release physical tension
• Concentration exercises, like observing an object in detail, improve focus and sensory awareness
• Imagination exercises, such as visualizing a character's past or future, deepen the actor's connection to the role
• Emotional memory exercises involve recalling personal experiences to evoke genuine emotions
  • Actors must be cautious not to become overwhelmed or lose control when using emotional memory
• Improvisation exercises help actors develop spontaneity, listening skills, and adaptability
• Script analysis techniques, such as identifying objectives and breaking down actions, are essential for character development
• Rehearsal processes, including table reads and blocking, allow actors to explore and refine their choices

Impact on Modern Acting

• Stanislavski's teachings have had a profound impact on modern acting and actor training
• The Stanislavski System laid the foundation for various acting methods, including Method Acting
• Stanislavski's emphasis on psychological realism and emotional truth has become a cornerstone of contemporary acting
• Many renowned actors, such as Marlon Brando, Meryl Streep, and Daniel Day-Lewis, have been influenced by Stanislavski's principles
• Stanislavski's techniques are taught in acting schools and conservatories worldwide
• The Stanislavski System has been adapted and modified by subsequent acting teachers (Lee Strasberg, Stella Adler, Sanford Meisner)
  • Each teacher emphasized different aspects of the system, leading to distinct approaches
• Stanislavski's legacy extends beyond theatre, influencing film and television acting as well
• The Stanislavski System continues to evolve and be reinterpreted by new generations of actors and directors

Critiques and Limitations

• While widely influential, the Stanislavski System has also faced criticism and limitations
• Some argue that the emphasis on emotional memory can be psychologically taxing for actors
  • Actors may struggle to separate their personal experiences from the character's emotions
• The system's focus on psychological realism may not suit all theatrical styles or genres
  • Non-realistic or highly stylized forms of theatre may require different acting approaches
• Stanislavski's techniques can be time-consuming and may not always be practical in fast-paced production environments
• The system's reliance on self-exploration and introspection may not come naturally to all actors
• Critics argue that the Stanislavski System can lead to self-indulgent or overly introspective performances
• Some believe that the system places too much emphasis on the actor's personal experiences rather than the character's given circumstances
• The Stanislavski System alone may not be sufficient for actors; other techniques and approaches can complement and enhance an actor's training