12th January Gavin Maxwell.

Lesson 1: The Stanislavski System:

“You know that a sculptor kneads his clay before he begins to use it, and a singer warms up his voice before his concert. We need to do something similar to tune our inner strings, to test the keys, the pedals, and the stops.”

                                                                                                    Stanislavski.

Within today's lesson, we had to discuss and answe certain questions with a partner.


What is truthful acting?
In my opinion truthful acting is when you really put yourself into your characters shoes. (ie, emotions, physicality). The reason why I say this, is because what would acting be if you don't make it realistic or make it become your own reality? Acting is about making the audience believe who you are as your character. If acting wasn't trueful then personally I wouldn't enjoy watching shows, or plays or even films.

Can you think of a specific performance by an actor or actress either on stage or in a film that you thought was truthful?

Straight away, when I got asked this question I thought of Angelina Jolie in the film The Changeling simply because you really believe her character and feel the emotions she's getting across in the film. When I watched that film, I knew it was based on a true story, but the way Angelina Jolie puts it across in her character's shoes was just mesmirzing. Her physicality was just spot on. Her character was a full time working mum with a full time job, with a young son. She always worked hard within her job, and leaves her son for one day and a tragedy stands her time. Angelina Jolie really fitted her character. I think what also helped her was that she is a fulltime working mum, and a Hollywood actress. I have nothing more to say, that film really did inspire me as a woman.

2) 'Imagination': 

Lesson 2

In our next lesson we had chairs scattered around the theatre and a cup of black coffee underneath the chair. We were then told that we had to sit on a chair each, and sit in 'Neutral' taken from the 'Seven States of Tension'. French music came on in the backgroud and Gavin made us close our eyes and we had to imagine being in a cafe, and to let ourselfs lose our imagination into the cafe descriptions. We then were told to play around with the coffee, smelling, touching it. It really gave a good feel to help imagination flow. I feel I could see everything in my head, the french cafe, the food surroundings, the garden area and then colours and images. It really helped me with the music also, gave a good vibe.

The Given Circumstances are not enough to create a fully-rounded character. The playwright and the director can show the actor the important aspects of the character, but in order to make the character ‘”Truthful” and fully believable, the actor has to use their imagination and “Fill in the missing bits”.

3) 'Concentration': 

To make best use of their imagination, an actor must be able to control it. This he can only do with a well-trained concentration. There are three levels of concentration.

 Outer

4) 'The Outer World': 

If you’re portraying life on stage, you have to observe and understand it. You have to be an observer not only of human behavior, but also history, religion, art and culture. You have to see beauty!

5) 'Relaxation': 

An actor’s body and voice have to be flexible and versatile- a finely tuned instrument. Physical tension interferes with this. It is caused by nervousness. The must consciously relax and then be ready for action.

6) 'Units &Objectives':

 The play should be divided into chunks. Each unit should have its own psychological and dramatic goal. This objective should be expressed by “I want…”.

7) 'Truth and belief':

 The actor must establish a level of belief in his character- “The willing suspension of disbelief”. This is often done by concentrating on a small physical actions which allow the actor into the character.

8) 'Communion':

 An actor does not just work on his own. Working as a team is very important. Actors must be intensely focused on another, reacting and giving out signals. They should be locked into a state known at THE GRIP.

9) 'Adaptation':

 The methods, the physical signs which the actor uses to communicate his character and feelings, which may start as a mechanical key, but should always be adapted into a truthful, organic part of the performance.

The actor must be able to focus on the stage, the scenery and the actors around him, and shut out the audience.

 Inner

The actor must shut out his own thoughts and feelings and remain constantly focused on the character.

What did they do to achieve this do you think?

As I've said already, just put your heart, emotion, and physicality into your character. If you don't do that, then I feel you won't achieve the full potential of your character. Also maybe researching your characters role will really help you nail it.

The Given Circumstances: The story of the play, its facts, events, periods, time and place of action, the conditions of life, the actor’s and the director's, their additions to it, the production, the scenery and costumes of the stage designer, the properties, the sound effects and so on. It includes everything that the actor is asked to take into consideration.

1) 'The Magic If': 

Having thoroughly investigated the Given Circumstances, the actor then asks the question: If these circumstances were true, how would I behave, what would I do? The Magic If in effect a key which allows the actor to enter the world of the Given Circumstances, to believe s/he is part of it, to change their character, and therefore to act n a truthful way.