Duh! Who else would it be?
Stans books
“MY LIFE IN ART”, “AN ACTOR PREPARES”, “BUILDING A CHARACTER”
The System
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- ACTION
Meaningful, purposeful activity of an onstage actor
Inner and outer Outward physical and concentrated stillness
Process of enactment There is never a point where the actor is not engaged in a process of enactment. It must always have a purpose
Acting with purpose “Do not run for the sake of running, or suffer for the sake of suffering”; always act with a purpose, an inner justification. Be logical coherent and real.
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· IF
Known as the “magic If” With regard to the character
What would happen if…..
“imaginative fiction of another person”
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· GIVEN CIRCUMSTANCES
Information you are given about the character from:
The Story of the play Its facts, events, epoch, time and place Conditions of life
Actor’s and director’s interpretation The Set, Costume and Props Lighting and sound effects
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· THE IMAGINATION
To supplement the given circumstances with imagination “Undergo a visualised journey”
“If you speak any lines, or do anything without fully realising who you are, where you came from, why, what you want, where you are going and what you do when you get there, you will be acting without your imagination”
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· CIRCLES OF ATTENTION
The Focus of an actor From solitude in public to the whole of the imagined world
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· UNITS AND OBJECTIVES
unit A part of a play or scene that can be broken down to units of action
objective Each unit has its own objective.
eg. “shaking a hand of someone you wish to apologise to”
Super-
Through-
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· EMOTION MEMORY
To recall feelings you have already experienced and use these creatively in your role
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To be able to find the beat of your Inner and Outer emotions and therefore be able to portray them, even at the same time.
e.g. frantic with worry (Inner) whilst talking about the weather (Outer)
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