Drama opsomming Feb. 2011: Stanislavski

  1. Stanislavski is gebore, waar
    • 5 Januarie 1863
    • Moscow, Rusland
  2. Stanislavski is oorlede, waar:
    • 7 Augustus 1938
    • Moscow, Rusland
  3. Stanislavski se vollename
    Konstanin Sergeyevich Alekseyev
  4. Action
    • Actor - always be active - externally / internally
    • Can be immobile externally + active psychologically - inner action
    • Actions must be justified: purpose and logical
  5. If
    • Magic word: unleashes imagination
    • starts actor towards believing - what he is doing
    • Stimulates creativeness
  6. Given Circumstances
    • All conditions in which the actor works:
    • - the plot
    • - environment
    • - lighting
    • - people
    • Actor must become familiar with and a part of his environment
  7. Concentration of Attention
    • Keeps - actor focused:
    • helps relax
    • direct - audience - where his attention is wanted
  8. Relaxation of Muscles
    • unless tense muscles are relaxed,
    • an actors normal mental activity + spiritual life of the character - impossible
  9. Units and Objectives
    Actor has various sequential objectives - role, To help him accomplish these he should have break his presentation into units, each of which helps him accomplish an objective
  10. Feeling of Truth and Belief:
    • If actor, while carrying out an action,
    • uses logical consecutiveness,
    • justifies everything with "if",
    • thinks of given circumstances
    • - will not overact - his action will be truthful
    • - will believe in what he is doing - doing it as in real life
    • "To find truth, actor must see, watch, absorb all possible impressions around him. He must learn to be aware of what surrounds him."
  11. Emotional Memory
    Stimulation of actors emotions through - recall of experienced emotions
  12. Communication
    • Actor - hear, see, understand - being said to him on stage
    • Should be sure others hear, see and understand what he is saying.
    • If actor communicates consciously he will be carried away merge with the character he is playing
    • Actors must communicate with one another - basis of living relationships between people, not by means of memorized behavior (formally and artificially)
  13. Adaptation
    Actors must adjust to one another ons stage + must creatively adapt himself to inspiration or unexpected changes
  14. Tempo-Rhythm
    • Tempo and rhythm inside and outside us
    • When actor seeks justified tempo-rhythm for what he is doing - directly approaching his emotions which will respond
  15. Motive Forces of Psychological Life
    Mind, Will, and emotions - forces - with which actor performs + creates
  16. Unbroken line of a Role
    • Actor should create - complete image of character he is playing using
    • - surroundings
    • - Author
    • - Play
    • - Imagination
    • so that he can see the world through the eyes of the character
  17. Actor's Inner State:
    • Because of fear: "faculties which functions naturally in life - often paralyzed on stage
    • To be able - create - truthful character, actor mus revive all faculties - means he must be in normal functioning state.
  18. Super-Objective and Through-Line of Action
    • Carry across the main idea - overriding objective of actors
    • Action, aspects of the performance must be continuously oriented to accomplish this
  19. Die tower as
    • Akteur moet vra - Hoe sou ek reageer
    • Hy verander so die denkbeeldige wereld -> werklikheid
    • Akteur moet 'n baie aktiewe verbeelding he
    • Akteur - deurentyd fokus en konsentreer - wat op die verhoog gebeur
    • Moet leer om sy spiere te ontspan
    • Klein gemotiveerde fisiese aksie - NB
    • Akteur moet oortuig wees van klein beweging - spontaan doen
    • akteur moet insidente, smake, geure, situasies ontgin
    • Goeie kommunikasie tussen akteurs kan gebeur as die akteurs aktief sintuie inspan
    • Akteur moet intellektueel in staat wees - teks te verstaan
    • Moet met oefening, wil en toewyding - karakter aanhoudend ontwikkel
    • Moet genoeg emosie in die rol inwerk - oortuigend en eerlik
    • Moet die rol 100% verstaan + homself daarvan gewis
    • Hy leef, huil en lag op verhoog - terwyl hy die aksie doen, moet hy self waarneem hoe hy huil, lag en leef
    • Bemin die kuns in jouself - nie jouself in die kunste.
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Drama opsomming Feb. 2011: Stanislavski
Drama opsomming - 5 Feb. 2011 - Stanislavski Metode