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The whole question of control with Stanislavski seems like a contradiction in terms: how can the actor 'control' or plan the effectiveness of his acting and at the same time retain the impression of being absolutely natural and spontaneous?
The whole question of control with Stanislavski seems like a contradiction in terms: how can the actor 'control' or plan the effectiveness of his acting and at the same time retain the impression of being absolutely natural and spontaneous?
A balance between 'living the part' and remaining objectively outside the character is what Stanislavski is after. The actor must not improvise on the spot during performance, since this would obviously cause chaos on stage. So the end result must have the appearance of reality, must seem spontaneous and with no artifice in the portrayal of character.
A balance between 'living the part' and remaining objectively outside the character is what Stanislavski is after. The actor must not improvise on the spot during performance, since this would obviously cause chaos on stage. So the end result must have the appearance of reality, must seem spontaneous and with no artifice in the portrayal of character.
As the answer to this conundrum, Stanislavski advocates stringent practice, being so thoroughly on top of the technical side of the performance - the character's moves, the artistic necessity of being in a certain place at a certain time on stage, etc. - that this becomes habit; the actor no longer has to make a conscious effort to think about it.
As the answer to this conundrum, Stanislavski advocates stringent practice, being so thoroughly on top of the technical side of the performance - the character's moves, the artistic necessity of being in a certain place at a certain time on stage, etc. - that this becomes habit; the actor no longer has to make a conscious effort to think about it.
Once this stage has been reached and the body is on automatic pilot the mind is freed to become creative in performance. Any dancer or musician, used to performance, knows the truth of this theory. For example; Ballet: A highly disciplined art form. When ballerinas appear to effortless glide, leap, pirouette, they are not completely relaxed, they hold certain muscles tightly in. If they were totally relaxed, they would lose energy.
Once this stage has been reached and the body is on automatic pilot the mind is freed to become creative in performance. Any dancer or musician, used to performance, knows the truth of this theory. For example; Ballet: A highly disciplined art form. When ballerinas appear to effortless glide, leap, pirouette, they are not completely relaxed, they hold certain muscles tightly in. If they were totally relaxed, they would lose energy.
Exercises that train physical control:
- The ‘mercury’ exercise.
- Copying walks based on observation - different ages, jobs, etc. These should not be exaggerations!
- Improvise the following: the first day at day care, the school playground at primary school, teenagers meeting for an evening clubbing, a group of people coming home from work, some old people in a retirement home
JOURNAL QUESTIONS:
JOURNAL QUESTIONS:
How could these exercises help the training of Physical Control?
How could these exercises help the training of Physical Control?
What effect did they have on you? Give a few examples.
What effect did they have on you? Give a few examples.
How have these exercises demonstrated that physical control is important when performing?
How have these exercises demonstrated that physical control is important when performing?
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