Stanislavski Techniques

Stanislavski Techniques
Given Circumstances: The term is applied to the total set of environmental and situational
conditions which influence the actions that a character undertakes. Although a character may make
such choices unconsciously, the actor playing the character is aware of such conditions on a
conscious level to help them deepen their understanding of the motivation behind the character's
actions. Given circumstances include conditions of the character's world (e.g. specifics of time and
place), elements from the history of the character's environment and elements from the character's
personal situation. Stanislavski describes given circumstances as "The plot, the facts, the incidents,
the period, the time and place of the action, the way of life. The Given Circumstances, just like "if",
are suppositions, products of the imagination.
Inner Motive Forces: In rehearsal, the actor searches for inner motives to justify action and what
the character seeks to achieve at any given moment. There are three main influences: intellect
(thought centre), feelings (emotion centre) and the physicalisation of these (will or action centre).
It is all about how we act with our mind, feelings and will. These three things live in balance and in
harmony, each actor having their own. The mind, feelings and will are the things that move us
forward in life. On stage everyone can use one of these to spark the creative process. By creating a
spark in one of these areas it will then spark the other two.
Tempo-rhythm: This can act as a powerful bridge between the inner experience and its physical
expression. Emotions to him had a distinctive pulse and pattern to them. ‘Tempo’ referred to the
speed of an action or an emotion. ‘Rhythm’ was, internally, the intensity of the emotional
experience. Externally, it was the pattern of gestures, movements and actions. Stanislavski believed
that tempo-rhythm was extremely vital in order to execute physical actions in a concrete and
truthful manner. His research on tempo-rhythm must have begun from his frustration with opera
singers. He likened the tempo-rhythms of action to those of music. Just as music had various
movements like legato etc, so should stage action and speech. This would not only make the action
organic, but also help stir the actor’s emotions.
Method of Physical Action: Stanislavski’s System proposed that a series of physical actions
arranged in sequential order would trigger the necessary emotions in an actor’s performance.
These emotions were based in the subconscious and could not otherwise directly come to surface
when needed. Hence his search for the ‘conscious means to the unconscious’ led him to create this
‘Method of Physical Actions,’ a physical map plotted out for the actor. This ‘conscious’ physical map
of action would then arouse and bring out the ‘unconscious’ emotions of the actor. This was
important in order to create a sense of whole. Stanislavski developed the concept of the super
objective that would carry this ‘through line of action.’ The super objective could then be looked at
as the ‘spine’ with the objectives as ‘vertebrae’. In order to achieve this super objective, the first
character would have successive unit objectives which when strung together, revealed the super
objective; the logical, coherent through line of action. Stanislavski called this super objective the
‘final goal of every performance’.
Circles of Attention: There are three circles of attention, allowing the actor to expand or reduce
their focus, energy, body language and voice to engage with the self, a few others or a much wider
audience. Stanislavski believed that an actor needed a sense of isolation in order to produce a
characterisation and avoid unnecessary tension. They needed to concentrate on themselves. This is
the first circle of attention, Stanislavski referred to it as Solitude in Public. Beyond this, the actor
might, in the 'second circle', be aware of the character he is addressing and in the 'third circle', the
rest of the production. There's no direct awareness of the audience in this. These circles of attention
are achieved through focus and concentration. The smallest of the three circles, this is most
commonly used for screen acting but on stage can also be powerful. Circle 1 helps the actor explore
their characters personal thoughts and feelings. It may work well when a character is having a
personal moment of realisation. When using this circle the actors’ body language may be small,
barely present, and their voice and overall energy is inward focused appearing tight and restrictive.
Circle #2 is conversational. Having a conversation with one other person whereby your energy is
focused on that person or those persons, and nothing else. It engages the other person, drawing
them into your circle of attention making them feel special and respected. When using this circle
the actors body language and voice may be more animated, engaging, with more volume and
energy. Circle #3 is the most powerful and energy demanding of all Stanislavski’s circles, as you
need to engage the whole world in your every thought and spoken word. With this circle the energy
will be at its maximum with animated body language and speech. These circles are important
because they demonstrate that it is not always what you have to say which engages an audience, it
is the way you say it which makes them hang off your every word. By sending your focus out into
the space, and seeing your audience as one, you will be more able to engage with them.
SOURCES:
https://www.bbc.co.uk/bitesize/guides/zxn4mp3/revision/8
https://www.theatreworkout.com/post/stanislavski-3-circles-of-attention
https://en.wikipedia.org/wiki/Stanislavski%27s_system
https://www.crankinblackbox.com/stanislavsky.html
http://jessicaschiermeister.blogspot.com/2009/02/stanislavski-inner-motive-forces.html
https://en.wikipedia.org/wiki/Given_circumstances
http://homepage.smc.edu/sawoski_perviz/Stanislavski.pdf

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