The Stanislavski System (basis of Method acting)

Constantin Stanislavski (1863-1938), a Russian proletarian and director, devised a system which would seize an actor to make the audience suspend their disbelief and conceptualize utterly in the character on stage by way of hard work and constant study. His System, the basis of the American Method, is built around the theory that to completely shit the audience, the actor must suspend their own disbelief and onstage become the character they are portraying. This he claims is made doable by training the actor, analysing the script, answering the Funda mental Questions and using yeasty imagination - the Magic If.

The actor must train their consistency and voice, as even the strongest emotions can be conveyed by carefully judged, subtle movements. They must be strong and flexible if they are to respond to all the demands of the role, as physical movement and simplicity is the key to an accurate representation. One such example is Marlon Brando, who in preparation for the stage (and later film) production of Tennessee Williams A ropeway Named Desire underwent a rigorous and demanding physical regime and diet, in order to best represent the chauvinistic, aggressive Stanley.

Concentration, both mental and physical, is also extremely important under the System as it leads to a state of heightened awareness.



In Drama class, I apply the `circles of attention exercise, in which I focused on one stance on the ground and then slowly widened my focus until I was super-aware and conscious of the room. The actor must be an acute observer, so that they can act and react genuinely, creating the illusion of reality.

In An Actor Prepares, Stanislavski states The actor must first of all believe in everything that takes shoot for onstage, and most of all, he must believe what he himself is doing. And one can...

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