Representation pt.1 DIXON.pptx

Representational Theatre

1. Representational Theatre Intro to Stanislavski & The System

2. Lesson Objective To understand the goals of Representational Theatre Can apply ‘The System’ to given scenarios. Can evaluate and discuss why Stanislavski’s Methods are still prevalent today.

3. So what is representational Theatre? This type of performance aims to literally represent real life , or at least, a version f real life. The characters on stage, they way they think and feel, how they speak and behave towards each other, the problems they find themselves experiencing and the way they experience them, remind the audience, if not of their own lives, of the lives of living people . In essence, representational theatre is a representation of real life as we know it. Representational Style: Drama that imitates life as sit explores human psychology by placing characters in life-like situations and relationships on stage. Because it’s an imitation of life the characters don’t know the audience is there.

4. So what is representational Theatre? Because this style seek to reflect reality, during a performance the characters are so engrossed in what they’re doing and why they’re doing it with on stage, that they seem to ignore the audience. In fact, most types of representational theatre, the characters don’t know the audience is there at all. Yet as they feel, emote and react on stage, the audience hopefully will feel too. As the characters discover more about themselves, the audience hopefully will too. Representational Style: Drama that imitates life as sit explores human psychology by placing characters in life-like situations and relationships on stage. Because it’s an imitation of life the characters don’t know the audience is there.

5. Konstantin Stanislavski Born 1863 & Died 1938 Russian actor and theatre director who developed Characterisation approach for Representational Theatre. Stanislavski’s work paved the way for modern representational acting. 2/14/23 Sample Footer Text 5

6. The system of acting Stanislavski’s System enables actors to create a three-dimensional and complex character with the goal of creating a believable , tangible and interesting portrayal to the audience. An actor can create a clear personality, history, psychology and set of future goals for their character, just like in real life. Some of the processes that form the System include: Given Circumstances Fundamental Questions The magic ‘if’ Affective memory Method of physical actions Objectives Believable Tangible Interesting

7. The Magic ‘If’ During rehearsal, when experimenting with the text within a playing space, actors might aske themselves: If I was in this particular situation, at this time and this location space, with these given circumstances, then what would I do? This is the magic ‘if’! In developing a character when an actor looks to their own personal experience and way of seeing the world, they may get some new ideas about their character’s reasoning, emotions ad reactions. Using the magic ‘if’ allows actors to draw directly on their own personality, ways of doing things and perspectives to help build authenticity in a character. If an actor can honestly say they would do this particular thing, then it should be believable.

8. The Magic ‘If’ During rehearsal, when experimenting with the text within a playing space, actors might aske themselves: If I was in this particular situation, at this time and this location space, with these given circumstances, then what would I do? This is the magic ‘if’! In developing a character when an actor looks to their own personal experience and way of seeing the world, they may get some new ideas about their character’s reasoning, emotions ad reactions. Using the magic ‘if’ allows actors to draw directly on their own personality, ways of doing things and perspectives to help build authenticity in a character. If an actor can honestly say they would do this particular thing, then it should be believable. The magic if can be particularly helpful is you find yourself ‘stuck’ in a scene Try the magic if and do, think or feel what you would if you found yourself in those circumstances. Great for Improv.

9. Method of Physical Actions, or ‘Muscular memory’ Stanislavski taught that in real-life internal thoughts and feelings are directly tied to physical expression and actions. He believed that everything that goes on inside the mind, and internal self is communicated through the body, including facial expressions, gestures and other movements. Using his techniques an actor explores gestures that are used: With specific emotions At specific times In specific places. It is vital that these gestures are life-like. They should be: Gestures which the actor personally uses in their own life Gestures that are life-like and used by other people in real life.

10. Muscular memory – In practice As an actor you are going to experiment with the method of physical actions. Stay focused on what you are doing, and without looking at your teacher or your peers, simply notice the instructions and carry them out…

11. Improvisation… In partners or 3s you will create a short semi-improvisational scene where the friends meet for the first time after the scene we just attempted. Try to consider the Magic ‘if’ and your muscular memory for this short piece.