Stanlislovskis System: Concepts On Acting :: essays research papers

Stanlislovskis System Concepts on Acting     The Elements of Style, as describe by Sonia More in her simplified viewof the Stanlislavski System, are come about rudimentary concepts designed to help agents achieve a profound and fair portrayal of their contribution on the decimal pointthrough personal radio link with their character. These concepts are designedas hawkshaws for the pseudo so that he whitethorn connect to a character or situation on the storey that he otherwise would not be able to connect with.     As Sonia Moore put it, Stanlislovski knew that an agents mind, will,and emotions must participate in the creation of a fail human being on the stage.He also understood that it is unachievable for people to turn their thoughts andemotions on and off as if by a switch. He also knew that no actor coming onstage without any reason for experiencing emotions would be unable to do sowithout round connection, or bridge, to the pers onal and emotional response oftheir character. So Stanlislovski designed tool for the actor to use to helphim connect with the emotional and physical public of his character.     Such concepts as The Magic If is a clear example of a tool an actorcould use to connect himself the life of the character. The Magic If, onlyguides the actor to ask the simple question "What would I do if I were in mycharacter position?" By asking this question of himself the actor canpersonalize the given circumstances of the character. The situation of thecharacter becomes much personal, and the stakes much higher, because the actorhas divulged some particular issues of himself into the character. Due to theseparticularities the actor will work out the given circumstance of the characterin a much more truthful manner. Even in performing the old saying goes "You cannotreally know someone until you walk a mile in their shoes." This concept of TheMagic If also commands a free part in some other Element of Action -Imagination.     Imagination is another tool that allows the actor to build a substantialrelationship with his character by creating the very universe in which hischaracter resides. Through this aesthetical imagination the actor can create thepast, present, and future of the character. The actor, in essence, could playGod wherein the character is concerned apart from given circumstances or thecircumstances that exist within the play. This artistic imagination is beinguse to give thoughts and feeling to the character being portrayed by onlyinfusing honesty and truthfulness into the actors performance.     There are other Elements of Actions that guide the actor to form