That Stanislavsky guy...

An Actor Prepares...

Going back through some notes from Stanislavski's book, there were some valuable thoughts...and a question that arose:

1) "The very worst fact is that clichés will fill up every empty spot in a role, which is not already solid with living feeling." We've talked at various lengths about why clichés are what they are, why we should avoid them, etc. The main point to be taken from this statement however, clichés aside, is that GENERIC information will fill the empty spaces we leave if we don't do our work SPECIFICALLY. We have to be able to let go of the work, of course, but we must first do it detail for detail. In addition, because we are examining the intricacies of the human condition, we must use our skills carefully and to the appropriate degree in order to inhabit these characters.

2) Stanislavski mentions an exercise given the students where they were asked to sit in a chair onstage in front of the class. Just sit. JUST sit. Nothing is ever JUST something. Many of the pupils spent their time fidgeting about and therefore never achieved what they were asked to do. Their classmates felt uncomfortable even looking at them at times due to their "helplessness and desire to please." The director then took his turn and actually sat still in the chair and the students couldn't take their eyes off of him. The simplest of tasks are often the most demanding. The secret is, "Whatever happens on the stage must be for a purpose." This once again references specificity. In addition, one might notice that with purpose comes presence. If an actor has a reason for being where they are, no matter what it might be, they have some inner strength of resolve and because of this an audience will not be afraid of watching them (as the students did during the exercise).

3) We spoke briefly about the seemingly ridiculous stage directions such as "through tears" etc. given throughout the text. I know I'm preaching to the choir when I say we must not act feelings for their own sake. The REMINDER I am supplying is that we must have faith that we will reach the extremes called for in good time and with thorough work. What sparked this thought: "In the beginning forget about your feelings. When the inner conditions are prepared, and right, feelings will come to the surface of their own accord."

4) Lastly, a question that has begun to form in my mind concerning acting and one's approach to performing is: (and I suppose it would greatly depend on the director's concept) should one contextualize one's actions and character/self within the time period in which the play was written, the period in which it was set by the author, OR the time period in which it is now being performed? This question speaks to whether or not we should take into account cultural standards/stereotypes/etc. of whichever given period when working on a role.

So...there are some things I have come across and the thoughts and observations which sprang to mind. Consider them how you will.