Halloween is wrapping up, Firework Night is just around the corner, and the festive season is in full swing with Christmas decorations and music everywhere!
This time of year, for those of you who are seeking to train or work professionally, the focus can move towards preparing for Drama School Auditions or perhaps finding a last-minute Christmas job. Whether you're compiling your headshot, showreel, CV, and cover letter to introduce yourself to casting directors and agents for the first time, or you already have some work lined up for Christmas, make sure to check out this article for techniques to enhance your acting performance.
In future posts, I’ll share my approach to scene preparation, drawing inspiration from various practitioners. I don’t adhere to one specific technique; instead, I’ve developed my own method tailored to each student’s unique learning style.
This month, we’ll explore some of Stanislavski’s techniques:
Given Circumstances
Understanding the given circumstances can help you answer essential questions about your character before rehearsals begin:
WHO am I?
WHAT do I want?
WHEN is this happening?
WHERE is this happening?
WHY do I want it?
HOW will I get it?
Objectives & Super Objectives
An objective is what you’re trying to achieve—it’s the reason behind your actions. We must navigate obstacles, just as our characters do.
A super-objective is an overarching goal that your character pursues throughout the play. It represents the core motivation that drives the character’s journey.
Units and Objectives
A unit is a segment of a scene focused on a single objective for an actor. Each unit shifts whenever a change occurs in the scene. Each character has a specific objective expressed through active, transitive verbs (e.g. to encourage). These objectives guide the physical actions needed to interact with others.
Magic IF
Stanislavski encouraged actors to ask, "What would I do if I were in this situation?"
Circles of Attention
To create a believable characterisation, an actor needs a sense of isolation. Stanislavski identified three circles of attention:
First Circle: The actor themselves (Solitude in Public).
Second Circle: Awareness of the other character they’re addressing.
Third Circle: Awareness of the rest of the production.
Subtext
Subtext refers to what a character is thinking but not saying. For example, a character might say, “What a lovely cup of tea,” while really thinking, “What an awful cup of tea this is.” Playing the subtext reveals deeper layers of emotion and intention.
While these techniques may not resonate with everyone, I recommend researching them further. An Actor Prepares is an excellent resource for those interested in Stanislavski’s system.
There are many more techniques to explore, which we’ll revisit in the new year. I’ll also be discussing methods from other practitioners, allowing you to discover diverse approaches to your work. If there are specific techniques you’ve studied or topics you’d like me to cover, please DM me on Instagram—I’d love to hear your ideas! You can find me @maddentheatrearts or alternatively book a free 30minute call with me to discuss whether our coaching could be right for you calendly.com/maddentheatrearts
Join me next month for a special Christmas edition!
Have a nourishing November.
Savanna x
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