1. KONSTANTIN SERGEYEVICH STANISLAVSKI 1863 - 1938

2. WHO WAS HE? Konstantin Sergeyevich Stanislavski (Russian: Константин Сергеевич Станиславский) was a Russian actor and theatre director Konstantin Sergeyevich Stanislavski (Russian: Константин Сергеевич Станиславский) was a Russian actor and theatre directorRussian actor theatre directorRussian actor theatre director

3. RUSSIA

4. Why is he so important to Theatre? He provided a rehearsal system that allowed actors to create characters in which they & an audience could believe. This is known as “The System” He provided a rehearsal system that allowed actors to create characters in which they & an audience could believe. This is known as “The System” Stanislavski was the first person to develop a cogent & practical system of acting – He remains one of the most important influences on actor training today Stanislavski was the first person to develop a cogent & practical system of acting – He remains one of the most important influences on actor training today

5. In Context Since its infancy at the beginning of the 19 th Century, Russian theatre had been controlled by placing it under censorship & the police, in the provinces, theatre was little regarded or even known Since its infancy at the beginning of the 19 th Century, Russian theatre had been controlled by placing it under censorship & the police, in the provinces, theatre was little regarded or even known By the time Stanislavski came to work in the professional theatre, standards were haphazard, punctuality was poor & there was often drunkenness backstage this ‘behaviour’ took a lot of time to deal with By the time Stanislavski came to work in the professional theatre, standards were haphazard, punctuality was poor & there was often drunkenness backstage this ‘behaviour’ took a lot of time to deal with

6. Rehearsals in 19 th Century Russia Rehearsals when they occurred were often performed mechanically with physical movements superficially repeated Rehearsals when they occurred were often performed mechanically with physical movements superficially repeated Actors would simply inhabit the stage & deliver the lines, downstage centre front Actors would simply inhabit the stage & deliver the lines, downstage centre front The dominant forms at the time were opera, farce & melodrama which relied on Stock Characters The dominant forms at the time were opera, farce & melodrama which relied on Stock Characters There was hardly any exploration of character There was hardly any exploration of character

7. The Art of Acting Despite this Stanislavski was fascinated by the Art of Acting Despite this Stanislavski was fascinated by the Art of Acting His early life & privileged background allowed him to create alternatives for theatre His early life & privileged background allowed him to create alternatives for theatre

8. Key Texts Stanislavski’s search for a new style of acting is well documented, he wrote 3 books as a guide to his system: Stanislavski’s search for a new style of acting is well documented, he wrote 3 books as a guide to his system: An Actor Prepares, Building A Character & Creating A Role An Actor Prepares, Building A Character & Creating A Role Each is clearly structured & easy to read Each is clearly structured & easy to read

9. 1897 Moscow Arts Theatre Stanislavski founded the Moscow Arts Theatre & established a clear set of ideals the style of performance had to be clear, sensitive, detailed & truthful, the highest standards were expected at all times Stanislavski founded the Moscow Arts Theatre & established a clear set of ideals the style of performance had to be clear, sensitive, detailed & truthful, the highest standards were expected at all times

10. The Texts

11. The Desire to Create The books are written from the perspective of the young fictitious actor, “Kostya” who is trying to improve his skill. He attends classes with the fictitious Director, “Tortsov” who leads him through a range of experiences that help him understand the art of acting The books are written from the perspective of the young fictitious actor, “Kostya” who is trying to improve his skill. He attends classes with the fictitious Director, “Tortsov” who leads him through a range of experiences that help him understand the art of acting This teacher-student format is effective This teacher-student format is effective It allows Stanislavski an endearing medium for presenting common mistakes or obsessions without sounding patronising or judgemental It allows Stanislavski an endearing medium for presenting common mistakes or obsessions without sounding patronising or judgemental

12. So what is The System? “There are no formulas….on how to become a great actor, or how to play a part….it is made up of steps towards the true creative state of an actor on the stage” (Stanislavski…..An Actor Prepares)

13. The System To achieve a normal living state….an actor has to be a) Physically free, in control of free muscles b) Attention must be alert c) Must be able to listen & observe on stage as in real life, be in contact with the person playing opposite him/her d) Must believe in everything that is happening on stage that is related to the play

14. (1) ACTION Everything that happens on the stage must happen for a PURPOSE Everything that happens on the stage must happen for a PURPOSE On stage you must act WITH A PURPOSE On stage you must act WITH A PURPOSE

15. (2) The MAGIC “IF” In working on a role you should ask yourself; What would I do if I was in this situation?” The magic “if” acts as a lever, lifting us from the plane of reality into the world where it is possible to create the world of imagination In working on a role you should ask yourself; What would I do if I was in this situation?” The magic “if” acts as a lever, lifting us from the plane of reality into the world where it is possible to create the world of imagination “AS IF” doesn’t ask you to believe something is real you all know it isn’t – You simply act AS IF you were in those circumstances “AS IF” doesn’t ask you to believe something is real you all know it isn’t – You simply act AS IF you were in those circumstances AS IF LEADS US TO ACTION AS IF LEADS US TO ACTION “What would happen if”...........

16. (3) GIVEN CIRCUMSTANCES The “MAGIC IF” can only be sustained in the context of “THE GIVEN CIRCUMSTANCES” The “MAGIC IF” can only be sustained in the context of “THE GIVEN CIRCUMSTANCES” “The Given Circumstances” are the basis for an actor & his/her role, created by the playwright, director, designer & form the context for an actor to ask “WHAT IF?” “The Given Circumstances” are the basis for an actor & his/her role, created by the playwright, director, designer & form the context for an actor to ask “WHAT IF?” These are: These are:

17. The circumstances are

19. (4) IMAGINATION The Actor needs imagination The Actor needs imagination Before you speak any lines or do anything you need to know Before you speak any lines or do anything you need to know WHO you are WHO you are WHERE you came from WHERE you came from WHY you are there WHY you are there WHAT you want WHAT other people say about you WHAT you want WHAT other people say about you Without this knowledge, you will be acting without your imagination……… Without this knowledge, you will be acting without your imagination………

20. Let’s Try this practically, REMEMBER….

21. (5) CIRCLES OF ATTENTION Designed to help actors relax & focus on stage Designed to help actors relax & focus on stage Actor’s attention on stage can be ‘scattered’ – too aware of the audience Actor’s attention on stage can be ‘scattered’ – too aware of the audience “Public Solitude” “Public Solitude” 3 Different Circles

22. (6) UNITS Actors must break down a play into smaller sections called UNITS Actors must break down a play into smaller sections called UNITS How do you define a unit? How do you define a unit? Look for where a new action begins Look for where a new action begins Find a title that captures the essence of each unit Find a title that captures the essence of each unit For each unit ask yourself, “What happens here?” For each unit ask yourself, “What happens here?” Look at some examples from a text…….

23. (7) OBJECTIVES In every unit there is a creative objective – a purpose or goal In every unit there is a creative objective – a purpose or goal Therefore you need to define your character’s objective in each unit Therefore you need to define your character’s objective in each unit An objective should be believable & should make you want to carry it out An objective should be believable & should make you want to carry it out Every physical action contains a psychological element Every physical action contains a psychological element

24. A PATHWAY…… When you have divided a role into units & defined the character’s objective in each unit, you have a kind of channel or pathway through the play When you have divided a role into units & defined the character’s objective in each unit, you have a kind of channel or pathway through the play

25. (8) EMOTION MEMORY Our own lives offer a rich store of experiences, memories, observations & insights Our own lives offer a rich store of experiences, memories, observations & insights Actors need a broad point of view to interpret different plays & create the life of people from different places & times Actors need a broad point of view to interpret different plays & create the life of people from different places & times Nobody has sufficient material for all roles, so you must observe other people closely…observe & draw on your past emotional experiences Nobody has sufficient material for all roles, so you must observe other people closely…observe & draw on your past emotional experiences

26. (9) COMMUNION Actors sometimes don’t listen to their partner in a scene; they switch off & wait for their cue Actors sometimes don’t listen to their partner in a scene; they switch off & wait for their cue Stanislavski always maintained that if actors want to hold the audience’s attention, they must concentrate on uninterrupted exchange of thoughts & feelings with other actors Stanislavski always maintained that if actors want to hold the audience’s attention, they must concentrate on uninterrupted exchange of thoughts & feelings with other actors If your feelings are conveyed to the other actors & affect them – the audience will be carried away – if they can’t reach your partner standing next to you, they won’t reach the audience If your feelings are conveyed to the other actors & affect them – the audience will be carried away – if they can’t reach your partner standing next to you, they won’t reach the audience

27. (10) SUPEROBJECTIVE - The Ruling Idea As you create your character’s objectives, you can begin to get a sense of an overall goal – a line running through the play – a superobjective As you create your character’s objectives, you can begin to get a sense of an overall goal – a line running through the play – a superobjective “I want to kill the king” or “I want to make her love me” the ruling idea of the play “I want to kill the king” or “I want to make her love me” the ruling idea of the play When you have found the superobjective it acts like a magnet as all the other objectives fall into place. THIS IS THE CRUX OF THE SYSTEM When you have found the superobjective it acts like a magnet as all the other objectives fall into place. THIS IS THE CRUX OF THE SYSTEM

28. You now have the basic elements of Stanislavski’s “System” Stanislavski argued that his “System” is based on “Nature’s Laws” The Actors natural creativity cannot be forced. The elements of the system are designed to create the conditions that help the actor to live on stage The Actors natural creativity cannot be forced. The elements of the system are designed to create the conditions that help the actor to live on stage