Wednesday, October 4, 2017

Research on Stanislavski's Method

All three of these videos focus on imagining yourself in the given circumstances, which is a major part of Stanislavski's method.

For this exercise, you have to spend a minute or two examining a coffee mug from every possible angle - the shape of the cup, its weight, the heat coming from the coffee, etc. You then have to apply this same critical thinking while drinking the coffee, analyzing its taste, texture, etc. After this, you must attempt to pick up an identical imaginary cup and experience the same sensations drinking from it.
When looking at the comments for this video, I was surprised to see how negative many of them were. Many people seemed to see it as a waste of time, since at first glance it has nothing to do with developing a character; however, that is missing the point. The idea of this exercise is to develop your ability to imagine. Personally, my takeaway from this is that it gets much easier to imagine and truthfully portray abstract concepts like a character's germ when you are able to imagine more concrete, physical objects as accurately as if they were real. This also makes getting immersed in the scene easier, and if you end up having physical props, it will feel even more natural since you have practiced just as effectively without them.

This video provides instructions for imagining yourself in a set environment - specifically, being outside in the snow. I noticed that this exercise specifically involved all five emotions, and although it served as a blueprint for the progression of the scene, it also provides multiple options (is it sunny, the sun reflecting brightly off the snow, or dark and cloudy?) and thus encouraged the participants to do their own thing. In everyday life, I feel there are certain senses that seem to overshadow others in terms of importance, so this was a good reminder that when acting out a scene, it helps to take all five basic emotions into account, covering all your bases.

Video 3
This video contains two exercises. In the first, the actors had to imagine themselves as being in a kitchen with imaginary props, very similar to an exercise from our textbook. In the second exercise, the actors had to hold a pen and some sting with their eyes closed and try to figure out what the objects where, then imagine that the pen is priceless and see how their relationship with the object changed.
These two exercises tie back to the two previous videos. The kitchen exercise is an expansion of the snowfall exercise, not just standing still and imagining the location in your mind but acting as though you are in that location. If you were to take the snowfall exercise to this level, I figure that you would have to start by walking as though you were trudging through snow or trying not to slip and fall on ice. The pen and string exercise is similar to the coffee mug in how it has the actor examine a physical object, and then use that to further their ability to relate to such objects in a scene.

Tuesday, October 3, 2017

TIP Notes: Chapter 1, p. 25-35

Exercise 6: The Six Ws
1. Who am I?
2. When am I?
3. Where am I?
4. Why am I here?
5. What do I want?
6. What will I do to achieve my want?

Subconscious = the part of the mind that influences our thoughts and actions without us being aware of it
There is a conscious objective (what you want to do in the moment) and a hidden objective (the inner motivation)

Exercise 7: be able to imagine the set and objects around you, even when they are present, and interact with them as if they are real

Be able to derive from a brief character description and the setup of a scene what the character’s objective will be

Exercise 8: Actions and desires can be broken down into short first-person phrases (“I want help” or “I leave”) to give your acting direction 

Balance of physical and psychological impulses when improving = psychophysical (thinking and doing working together in harmony)
Active analysis: Actors decide on the main event of the scene and an action for each character, then flesh out the scene with improvisation

The character’s ultimate goal in the piece is their super objective; in a greater sense, the super objective is the theme of the play, building off of all the characters’ individual super objectives

Germ = the essence/core of the character; single word or short phrase

Acting Tip: write your character’s germ and super objective at the top of your script 

Tempo-rhythm = the character’s psychophysical pace; or, the pace of the setting

Exercise 11: Knowing the character or object’s tempo-rhythm makes it easier to step into their body and think the way they do

Have the germ, super objective, current objective, and tempo-rhythm of the character in mind as you act; don’t focus on one aspect of the character so much that you forget the others, as they are all equally important