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Which system of training focus on the development of artistic truth on stage by teaching actors to ‘experience the past ‘while creating dramatic persona? How effective it will be for the actors to express their emotions in a play. Elucidate.

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Realism (Stanislavsky’s System) - Method Acting: Sense memory is the base on which the greatest part of the work depends. When the senses are trained to recall the things on stage, as they do in life, only then subsequent work can be done with a complete command of realism. An actor must work on his five senses - touch, taste, to hear, to see and to smell.

Stanislavsky’s ‘System’ is a systematic approach to train actors. Areas of study include concentration, voice, physical skills, emotional memory, observation and dramatic analysis.

Emotional Memory: Stanislavsky’s system also focused on the development of artistic truth on stage by teaching actors to “experience the past” during performance. Actors were instructed to use their own memories in order to express emotion. Stanislavsky soon observed that some of the actors using or abusing this technique were given to hysteria. He began to search for reliable means to access emotion, eventually emphasizing the actor’s use of imagination and belief in the given circumstances of the text rather than his/her private and often painful memories.

Creating the inner character: The actor can begin by a simple and direct character analysis using the awareness of his own instrument to accumulate information about the character which must then be regarded as fact. The actor’s own relationship to the inner character he/she is portraying must be subjective only in how he/she will play the knowledge he/she has found, not what he will play as the character.

Ask yourself honestly: Who am I? What are my particular likes and dislikes? Do I have a hobby? Am I religious? What is my background? etc.

Creating the outer Character: The outer character of a role is simply the continuation of inner character creation. The actor must remember that in life the underworld figure does not try to be obvious; he/she does not try to act like a gangster. The reverse is also true of the innocent; he/she does not try to behave as one who is naïve.

Too many actors feel that their characters must be made obvious to the audience when, in reality, the reverse is true. How often we leave a performance of ‘Othello’ and hear the audience remark “Iago certainly looked like a villain”. A villain is precisely what Iago should not look like, if he were so obvious, why would Othello not recognize him for what he was? Othello was not a stupid man.

Justification: When we are given physical action to follow through on stage, there must be a purpose for even the simplest of tasks, All stage actions, behaviour and ‘businesses must have a purpose.

In life, we do not plan our emotional responses. Therefore, it is equally important to learn the art of forgetting the end results of a character’s behaviour, thus allowing the results to happen as they do in life.

The simplest stage action must have a purpose designed for its existence.

Sitting in a chair on stage must have a purpose, and with this reason will come the originality and simplicity of the act.

Stanislavsky built his system of justification around one word ‘if’.

Sub-text: Thought between the lines which gives an actor strong and correct expressions, sub-text may be of one word or one line or more than that.

Stanislavsky wrote several works, including ‘An Actor Prepares, Building a Character, Creating a Role’ and his autobiography, My life in Art(autobiography).

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