Stanislavsky
exercises
Relaxation/Imagination
A relaxation technique; visualisation-on a beach. We are asked to relax our muscles one at a time by tensing, them releasing from the toes to the head.
This is linked to Stanislavsky's IMAGINATION ‘method’. This could be
an extension of the relaxation involving the picturing of images or smells for
SENSE MEMORY or the recalling of an emotion or memory for SENSE MEMORY.
We are asked to think of something they don’t like and are told to
visualise this down to the last detail; (smell, taste, touch, fear factor,
where it is, what it is doing etc) Then asked to describe
this to the class, who with their eyes closed are asked to picture each detail
and then say what it was the person was describing.
Units
and Objectives
Stanislavsky believes
that the play should be broken down into bitesized pieces for the audience to
digest and that each sub-section should have an objective.
Given
Circumstances
The GIVEN
CIRCUMSTANCES are circumstances that an actor is given by a director in order
to carry out a scene. I.e; You are at a doctors surgery in a waiting room. At
this stage the actor does not know any more information, so finds it difficult
to create a charcter. The director then gives more circumstances, such as you
are 5 years old. Other characters can then be brought in to see how they
interact with one another and to give the scene direction.
Circle
of Attention
Listen to the sounds inside the room, then sounds outside
the room, then sounds next to or near you, then focus on the sounds you make or
inside you. These sounds show your CIRCLE OF ATTENTION, whether it is focused
or distanced.
This can be used with the GIVEN CIRCUMSTANCES.
Scene; One girl waiting at a bus stop. (Watch this for 2 mins.)
* What do we notice about the character?
* Where is their circle of attention?
* Does it change if she looks down the imaginary road for the bus or when she is looking at her watch? How?
* Another character is given a circumstance (in secret). This is to stand behind the girl, but distanced and to stare at her.
* How does the person at the bus stop change in their movements and gestures?
* Where is the focus or CIRCLE OF ATTENTION now?
This is all a form of EMOTION MEMORY, the way the character reacts, body language, nerves, it has all been recalled from previous experiences when you play this scene.
It also shows the characters TEMPO/RHYTHM within the action and gesture, showing the internal character rhythm of fidgeting and impatience, leading to fear or anger. Try out these activities in a variety of ways, using text, in particular those of Anton Chekov or experiment with your own situations and scenarios.
This can be used with the GIVEN CIRCUMSTANCES.
Scene; One girl waiting at a bus stop. (Watch this for 2 mins.)
* What do we notice about the character?
* Where is their circle of attention?
* Does it change if she looks down the imaginary road for the bus or when she is looking at her watch? How?
* Another character is given a circumstance (in secret). This is to stand behind the girl, but distanced and to stare at her.
* How does the person at the bus stop change in their movements and gestures?
* Where is the focus or CIRCLE OF ATTENTION now?
This is all a form of EMOTION MEMORY, the way the character reacts, body language, nerves, it has all been recalled from previous experiences when you play this scene.
It also shows the characters TEMPO/RHYTHM within the action and gesture, showing the internal character rhythm of fidgeting and impatience, leading to fear or anger. Try out these activities in a variety of ways, using text, in particular those of Anton Chekov or experiment with your own situations and scenarios.
