Stanislavski believed that theatre was more that just portrayal of the visual world, which is what acting, was in the beginning of his time. At the time, an actor was simply supposed to be familiar so that people knew what type of character he or she was portraying, but Stanislavski did not believe in this. He thought that believability was the key. To do this, he devised a system or “the method”.
The main part of the system was “emotion memory”, recalling a time when you, the actor, felt the same emotion, be it fear, anger, sadness, happiness, excitement, and to try and bring that behaviour into the character. This is what Stanislavski began to work on later: how to integrate actions and movements from your own experiences into the acting.
Stanislavski allowed actors more freedom in the role, but it demanded more awareness of things like the subtext: the real meaning or emotion behind the text spoken by the actor.
"Constantin Stanislavsky." PBS: Public Broadcasting Service. PBS. Web. 20 Jan.
2011.<http://www.pbs.org/wnet/americanmasters/database/stanislavsky_c.html>.
The main part of the system was “emotion memory”, recalling a time when you, the actor, felt the same emotion, be it fear, anger, sadness, happiness, excitement, and to try and bring that behaviour into the character. This is what Stanislavski began to work on later: how to integrate actions and movements from your own experiences into the acting.
Stanislavski allowed actors more freedom in the role, but it demanded more awareness of things like the subtext: the real meaning or emotion behind the text spoken by the actor.
"Constantin Stanislavsky." PBS: Public Broadcasting Service. PBS. Web. 20 Jan.
2011.<http://www.pbs.org/wnet/americanmasters/database/stanislavsky_c.html>.
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