Stanislavski and the Actor

Rating:
Summary: Easy to Understand, Great Introduction to Stanislavski
Review: Benedetti first outlines Stanislavski's Method of Physical action, a term which Benedetti does not think accurately denotes the idea it represents. He prefers to refer to it as the Method of Analysis through Physical Action because it recognizes that physical movement is not the sole ingredient for good acting. Nonetheless, how an actor moves partly determines how his audience will react. If the movements are believable and comparable to the viewer's own movement, the viewer will be able to identify with the actor's performance. In other words, although acting is a created behavior, it must appear real. Benedetti coins the terms, the "Real I" and the "Dramatic I" to illustrate the difference and the process of creating a character. He notes the actor must "create a Dramatic `I' that will look and sound as human as a Real `I'" (4). The most important factor in making this transition, according to Benedetti, is belief. The actor must believe his situation is true, and his attitude toward his movements and the treatment of other actors and objects will seem true. There are three phases in achieving this goal: (1) I am being, which involves creating past and future character histories for the play along with dividing the play into its thematic parts and exploring the subtext, (2) The Third Being, where the text's structure is examined in the context of its history and the text merges with the actor's experiences and actions, and (3) The Creative Actor in the Play, which refines the actor's performance and cuts superfluous movement. Benedetti then explains Stanislavski's system, or technique, to create the Dramatic `I.' Stanislavski believed in continual practice of exercises to keep the actor's body and voice finely tuned like a musical instrument. Benedetti presents a variety of such exercises that attempt to break movements into their smallest parts, thereby making the actor acutely aware of how his body works. These exercises later translate into the components of dramatic action. For example, if an actor was supposed to place a candle down (like Jim in The Glass Menagerie scene with Laura), he would not just simply bend over and put the candle on the ground. The actor might first look around for a suitable place, set the candle down, then adjust its position to prevent the wax from dripping. The exercises for mental action are perhaps the most important for creating the belief necessary to create the Dramatic `I.' How an actor focuses his senses and concentrates on his surroundings is essential to a believable performance. The mechanics of focus and concentration are similar to the mechanics of movement, and Stanislavski encourages actors to dissect this as well. Understanding how one achieves this in reality also simplifies the process of creating an imaginary world for the actor. The actor imagines his character's past, present, and future memories along with much of his physical setting. With a trained imagination, Stanislavski believes an actor will believe he is the character. The section I found particularly helpful regarding creating this imaginary world dealt with subtext. It is similar to the GOTE method in its results, but is far simpler to remember once on stage. Stanislavski's initial analysis of a text's subtext involves creating an Inner Monologue that is accompanied by Mental Images. The actor predetermines his character's thoughts and sights for performance. Since, in reality, much of a person's thoughts are devoted to wants and needs, I have observed that the created inner monologue will map out the actor's goals. The benefit of the inner monologue, however, is that is supplies the logical transition between these goals. For example, if an actor's goal is first "I want to see X better," then "I want to kiss X," there is a significant mental jump. The inner monologue may be "I can't quite see X's face. Oh, he just stepped into more light . . . my, he's very attractive. I'd like to kiss him." Although it is a subtle difference, the inner monologue implies the goals while supplying a sensible transition between them (i.e. through-emotion, as Benedetti terms this).

Rating:
Summary: Easy to Understand, Great Introduction to Stanislavski
Review: Benedetti first outlines Stanislavski's Method of Physical action, a term which Benedetti does not think accurately denotes the idea it represents. He prefers to refer to it as the Method of Analysis through Physical Action because it recognizes that physical movement is not the sole ingredient for good acting. Nonetheless, how an actor moves partly determines how his audience will react. If the movements are believable and comparable to the viewer's own movement, the viewer will be able to identify with the actor's performance. In other words, although acting is a created behavior, it must appear real. Benedetti coins the terms, the "Real I" and the "Dramatic I" to illustrate the difference and the process of creating a character. He notes the actor must "create a Dramatic 'I' that will look and sound as human as a Real 'I'" (4). The most important factor in making this transition, according to Benedetti, is belief. The actor must believe his situation is true, and his attitude toward his movements and the treatment of other actors and objects will seem true. There are three phases in achieving this goal: (1) I am being, which involves creating past and future character histories for the play along with dividing the play into its thematic parts and exploring the subtext, (2) The Third Being, where the text's structure is examined in the context of its history and the text merges with the actor's experiences and actions, and (3) The Creative Actor in the Play, which refines the actor's performance and cuts superfluous movement. Benedetti then explains Stanislavski's system, or technique, to create the Dramatic 'I.' Stanislavski believed in continual practice of exercises to keep the actor's body and voice finely tuned like a musical instrument. Benedetti presents a variety of such exercises that attempt to break movements into their smallest parts, thereby making the actor acutely aware of how his body works. These exercises later translate into the components of dramatic action. For example, if an actor was supposed to place a candle down (like Jim in The Glass Menagerie scene with Laura), he would not just simply bend over and put the candle on the ground. The actor might first look around for a suitable place, set the candle down, then adjust its position to prevent the wax from dripping. The exercises for mental action are perhaps the most important for creating the belief necessary to create the Dramatic 'I.' How an actor focuses his senses and concentrates on his surroundings is essential to a believable performance. The mechanics of focus and concentration are similar to the mechanics of movement, and Stanislavski encourages actors to dissect this as well. Understanding how one achieves this in reality also simplifies the process of creating an imaginary world for the actor. The actor imagines his character's past, present, and future memories along with much of his physical setting. With a trained imagination, Stanislavski believes an actor will believe he is the character. The section I found particularly helpful regarding creating this imaginary world dealt with subtext. It is similar to the GOTE method in its results, but is far simpler to remember once on stage. Stanislavski's initial analysis of a text's subtext involves creating an Inner Monologue that is accompanied by Mental Images. The actor predetermines his character's thoughts and sights for performance. Since, in reality, much of a person's thoughts are devoted to wants and needs, I have observed that the created inner monologue will map out the actor's goals. The benefit of the inner monologue, however, is that is supplies the logical transition between these goals. For example, if an actor's goal is first "I want to see X better," then "I want to kiss X," there is a significant mental jump. The inner monologue may be "I can't quite see X's face. Oh, he just stepped into more light . . . my, he's very attractive. I'd like to kiss him." Although it is a subtle difference, the inner monologue implies the goals while supplying a sensible transition between them (i.e. through-emotion, as Benedetti terms this).