Relaxing Presentation

By iara Pereira

Performing in parts

START

Content

Intentions

Duologue Evaluation

Tension

Evaluations

Given-circumstances

Stanislavki Research

What If

Imagination

Voice

Subtext

Impact on Modern Acting With actors like Marlon Brando and later Al Pacino and Meryl Streep, Stanislavski's ideas laid the groundwork for later acting techniques like Method Acting, which became a major part of American performing culture. Additionally, his lectures served as the foundation for instruction in establishments such as the Actors Studio in New York. By focussing on internal truth and opening the door for contemporary, psychologically realistic acting approaches, Stanislavski's system revolutionised acting and continues to influence theatre and cinema around the world.

His influence in modern acting:

Who was Stanislavski?

Stanislavski Research

The "Stanislavski System," sometimes known as the "Stanislavski Method," was developed by the famous Russian actor, director, and educator Konstantin Stanislavski and has had a significant impact on acting around the world. This strategy emphasised psychological reality, emotional depth, and authenticity in performance, as opposed to the more theatrical approach that was popular in the nineteenth century.

Objectives and Super-objectives: To give performances direction and emphasis, Stanislavski instructed performers to pinpoint their character's objectives, or what they hope to achieve in a scene, and super-objectives, or their ultimate goal.

Magic If and Given Circumstances: He introduced "Magic If" exercises, in which individuals ask themselves, "What if I were in this situation?" and encouraged students to examine every aspect that define a character's environment, or the "given circumstances" of a scene.

Method of Physical Actions: In his later work, Stanislavski concentrated on the connection between emotional reaction and physical activity. He emphasised that performers might discover genuine emotions through deliberate, physical movements, which would enable more impromptu performances that were relevant to the character's circumstances.

What are the key aspects of Stanislavski's work

Emotion and Psychology: In order to achieve authentic, convincing performances, Stanislavski concentrated on relating to the actor's personal feelings and experiences and implying it onto their roles. In order to fully understand their motivations, he adviced performers to go deep into their characters and try to implement those emotions and live in the character

STanislavski Influence in modern acting

With actors like Marlon Brando and later Al Pacino and Meryl Streep, Stanislavski's ideas laid a foundation for later acting techniques like Method Acting, which became a major part of American performing culture. Additionally, his lectures served as the foundation for instruction in establishments such as the Actors Studio in New York.

The tube exercise served as a reflection for us to dig deeper into our thoughts and our mind as we used our imagination to create the scene of what was being like in the tube as some of us do use public transport most days, and in our lesson we used this real life scenario so that our true emotions would flow out and so thhat we would be able to reflect our true feelings, as young actor this helps us undertsand the importance of imagination and how it applies when it comes to performing.

Imagination

tube exercise (what did we learn from it)

We got through really well even though we forgot some of our lines, but we improvised using the knowledge we knew about our play.

To help us feel even more prepared, we did a few vocal warm-ups to prepare our voices and improve the way we project our voices. We also did breathing exercises to help reduce stress and nervousness before the performance, as well as to clear our minds and make us feel better.After our performance, I felt relieved and great about our performance because me and my partner did really well in our performance, despite me being nervous before we went on stage.

On the day of our assessment, my partner and I took the time to ensure that we had our lines correct and well memorised, as we had practiced the previous lessons.In our spare time, we made certain that we were playing our intentions and using our given circumstances to our characters well, as well as ensuring that we were ready and well prepared, as with more practice, we learnt to enhance our talents in order to perform well.

Duologue evaluation

7. Vocal Variety: To prevent a monotone delivery, use a variety of pitch, tone, and tempo. The audience finds a dynamic, varied voice more captivating and offers the character more nuance, which increases their plausibility and relatability.

5. Diction and Articulation: Speech clarity. While looser diction may represent a more relaxed or informal personality, precise articulation frequently conveys confidence, education, or formality. When expressing dialects, regional accents, or social origins, diction choices are also very important.6. Breath Control: Since breath is the basis of voice, performers who possess this skill are able to adjust pitch, control emotion, and maintain volume. Additionally, breathing can produce minor vocal changes, such a slow exhale to convey serenity or relief or a catch in the voice to convey emotional vulnerability.

3. Pace (Tempo): The rate of delivery of lines. While slower speech may suggest composure, consideration, or reluctance, faster speech may express hurry, excitement, or anxiousness. One of the most effective ways to influence a character's energy and react to the dynamics of the situation is to change the tempo. 4. Volume: The voice's loudness or softness. A loud voice can express anger, authority, or excitement, while a whisper might suggest closeness or secret. Volume can also represent a variety of emotions and intentions.

Key Elements of Voice acting:

voice

In acting, a character's voice is an essential instrument for expressing their goals, feelings, and personality. It includes the actor's manipulation of pitch, tone, tempo, loudness, and articulation in addition to the sound they create. Actors with a strong command of voice are able to convey depth and subtext as well as develop unique, distinctive characters, which enhances the authenticity and interest of their performances.

1. Pitch: How high or low the voice is. Different emotional states can be reflected by changing the pitch; a higher pitch may suggest tension or excitement, while a lower pitch may suggest authority or serenity. For instance, a confident leader may speak with a steady, lower tone, whereas an anxious character may speak in a higher pitch. 2. Tone: The voice's emotional content. The actor's emotional intentions—whether they be detachment, sarcasm, warmth, or anger—are reflected in their tone. A line's meaning can be entirely changed by a shift in tone, which also frequently aids in conveying subtext.

In our mock assesment we presented our spoken words to each and everyone in our class, at first i felt a bit nervous even though we had practiced it previous lessons but it felt a lot better after watching my classmates perform their spoken words, i also took notes so that i could add to my spoken word and give it a clear structure, when it was my turn to perform i felt less nervousness and i was able to project my voice and control my breath when reading my poem out loud, i also tried not to look into it much as i wanted to make sure that i would be able to have it fully memorised for the real assessment. Overall i would say that i performed incredibly well as i used all the skills i've learned from the previous lessons and was able to change the flow of my poem and change tones when saying specific words and make it meaningfull as my spoken word was an emotional one and despite it being shorter than the other spoken words it had some topics that people could relate to as it was a real life situation about the feeling of almost losing a loved one and most people may have gone through as we are all human and have to deal with difficullt situations from time to time.

Spoken word evaluation

Dance evaluation

Today was the day of our assesment and, before it began i went over my dance as i had made previous other choreographies with different songs to see which one had a better vibe and fit the moves Despina gave us, and i ended up going with XXL by Young posse which is a 5 member female south korean girl group formed by DSP media & BEATS entertainment. I choose this song because its part of one of the genres of music that i personally enjoy and can easilly freestyle which is kpop or korean pop, and it was a lot easier to choreograph as im used to freestyling most kpop songs as its an easy style of dance as it takes inspiration from various other styles of dance such as street dance, Vogue dance, Afro dance and many others. On this day i wasn't nervous as i had gone over the dance many times and i perfeced my dance enough for it to look clean, as i added sharp movements of my own and also tried to fit the moves i was given in specific parts of the dance where the beat matched with the movement or the lyric gave meaning to the movement. Overall i believe that i performed really well and i was able to deliver the movements cleary, however one thing that i would change about my performance is the use of facial expressions as i didnt use it much as its one of my weaknesses but it would have made the performance better and give the audience a better view and maybe even tell a story with the lyrics.

Actors can gain a deeper understanding of how tension impacts the motions, energy, and relationships of their characters by playing with each degree. Actors can more easily represent characters in a number of situations and emotional states, from laid-back to highly dramatic, by switching between levels, which helps them build range and adaptability. Additionally, by encouraging performers to change and adapt their energy in response to the demands of a scene, the exercise highlights the significance of dynamic tension in performance and produces more interesting and varied portrayals.

5- The tension is clear in the body, concentrated in the eyes, breathing may get heavier.With the 5th level of tension i decidedwalk around the space slowly before starting to dance to the rhytm of the song.

4-Some tension in the body, maybe in the neck and shoulders area,( looking at things, sittin g down, standing up,fidgeting , etc)With the 4th level of tension i began to get rid of the chilled out side slowly as i started to get up and move around, almost as if i was lost in my thoughts, and wondering what my next move will be.

3- The state of tension before anything happens (in the present aware)for the third level i decided to stay still before the beat dropped as i flinched as if i heard an unexpected noise this helped me to start to use my imagination and create a scenario in my head that i was either stuck in the dance studio or i had my performance tomorrow and i had little to no time to reharse but the tension wasn't so clear i was still a bit chilled out.

2- Hardly any tension, laid back, relaxed, just enough tension to move slightly.With the second level of tension i used slow movements that would clearly show this level of tension as i slowly sat up and moved slowly to the slow rhytm of the song i choose which was Accendio by IVE as this song as changes in tempo which helps with what move i may choose next, but for the beginning i choose slow and flowy movements.

1- There is no tension on the body at all(exhausted, tired and there is little to no movement).How have explored the first level of tension?I explored the first level of in our lesson today, as i was given the task of creating a scene including all the seven levels of tension, i started with laying on the floor and staying very still as i imagined myself feeling exhausted after a long dance session.

What are the 7 levels of tension and how have i explored them in today's task?

tension

By creating a purpose for every movement, intentions help actors in preventing automated or meaningless performances. Because the character's intents become relevant, rational, and rooted in the narrative, performers can produce complex and relatable portrayals by focussing every decision on the character's objectives.

Why are intentions important?

4. Adjusting Intentions in Reaction to the Scene: Another aspect of realistic acting involves changing intentions in response to the actions of other characters. Actors can depict genuine, credible emotions by changing their plans or tactics in response to others.

2. Super-objective (Overall Intention): The character's ultimate goal that runs the length of the play or narrative is this. It stands for their fundamental drive, a guide that directs their path and decisions. For instance, a character's ultimate goal could be to get revenge, succeed, or discover love. Actors can connect situations and behaviours to a more comprehensive, coherent goal by comprehending the super-objective. 3. Action Verbs for Clarity: In order to convey their objectives, actors were instructed by Stanislavski to use action verbs such as "to convince," "to threaten," or "to protect." This method helps the actor grasp the dynamics and intensity of each interaction by maintaining the intention active and providing clear and focused direction for the character's actions.

How Stanislavski's System Intentions Works Scene Targets (Immediate Intentions): These are straightforward objectives that a character works towards in a particular scenario. For instance, in one scene, a character may be trying to convince another character or conceal information from them. A well-defined goal increases the actor's ability to make smart choices and react naturally to the other characters in the situation.

iAccording to the Stanislavski System, intentions—also referred to as aims or goals—are essential to comprehending the motivations and behaviours of a character in a scene or across the narrative. They provide the actor a clear reason for each statement, gesture, and response by representing what a character wants or is aiming for at any given moment in the story or overall. Actors may produce focused, dynamic, and genuine performances by knowing the goals of a character.

Intentions

Because it humanises the character's situation, The Magic If has great power. Actors are urged to embody the character's feelings rather than merely delivering a series of predetermined lines or acts, converting fictitious circumstances into authentic emotional and bodily reactions. Because the actor is truly engaged in the character's reality, the result is a performance that is lively, honest, and profoundly linked. The Enchantment In the end, it transforms scripted, abstract moments into lived experiences, giving actors access to a wider variety of emotional and psychological depth while preserving the character's narrative integrity.

Why is the Magic of important

Examples of the Magic If in PracticeEmotional Scenario: An actor playing a grieving character might ask, “What if I had just lost someone close to me?” By tapping into personal memories or understanding the universal feeling of loss, the actor can bring realistic emotional nuance to the performance.Situational Context: For a character in a dangerous situation, an actor might ask, “What if I were trapped and couldn’t escape?” This question triggers instinctive reactions—fear, tension, or even panic—that can help the actor embody the character’s emotional and physical state more fully.Relational Dynamics: For scenes with complex relationships, an actor might ask, “What if this person were my actual family member or friend?” This personalizes interactions, encouraging actors to respond in ways that feel authentic to the nature of those relationship

Stimulating Empathy and Authentic Reactions: By moving the emphasis from an abstract character to a more intimate encounter, this exercise enables performers to truly empathise with their role. Actors start making decisions based on their own feelings, which results in natural and convincing performances. Interpretation Flexibility: "What if?" can be used to describe both particular and more general facets of a character. An actor might ask, "What if I were a powerful CEO?" to elicit a change in physically or attitude, or "What if I lost someone I loved like my character did?" to generate an emotional understanding.

How the Magif if works:Connecting Fiction and Reality: By creating a link between their own reality and the character's fictional world, The Magic If assists actors in suspending disbelief. Actors can evoke their own feelings and experiences by posing the question, "What if I were facing these circumstances?" This gives the character's decisions more depth and realism.

The idea of "What if?" (also referred to as the Magic If) is a key element in Stanislavski's System that helps actors connect profoundly with their characters and situations. "What if I were in this situation?" is the question the actor poses. This method makes the fictional situation seem real and alive by allowing the actor to picture themselves going through the character's life, choices, and feelings.

Why is Magic If important?

Magic if

+ info

Example 3: Disagreement within the Family One character may say, "Do whatever you want," during a family dispute. The subtext may imply wrath, disappointment, or hurt, with tone or body language conveying the actual feelings that underlie the words.

Subtext in Performance Examples Example 1: Tension in Romance One character may casually remark, "It's nice to see you," in a moment where they are secretly in love with another. However, a prolonged look or a tiny hesitancy in their voice could convey a subtext of tenderness, yearning, or even envy. Example 2: Dynamics of Power An employer may tell a worker, "I'm just giving you feedback." Although it may appear neutral at first, the subtext may convey a subtle threat or a reminder of power, which could be conveyed by a condescending tone or a harsh gaze.

3. Relationships and Context: Subtext is influenced by character relationships and history. In a romantic situation, for instance, two characters may speak in a reserved or courteous manner while the subtext expresses love or interest. 4. Social Norms and Constraints: Characters who feel they are unable to be open frequently employ subtext. Characters may be forced to utilise indirect language due to cultural or social standards, which enables the subtext to express their true feelings or frustrations.

1. Hidden Intentions and Feelings: Characters may not always express their true emotions. For example, a character who is extremely harmed may say, "I'm fine." Despite what the words imply, the subtext is the underlying suffering that is communicated by tone, body language, or expression. 2.Conflicts Between Words and Actions: A character's words and their true intentions are frequently at odds, as shown by subtext. Characters attempting to conceal their actual emotions, control others, or uphold social appearances frequently exhibit this disparity.

Key Elements of Subtext:

The underlying feelings, intentions, and thoughts that underlie a character's uttered words or actions are referred to as subtext in acting. Instead of using the actual phrase, an actor employs gestures, facial expressions, tone of voice, and pauses to portray the underlying message or mood. Subtext enhances a performance by giving scenes a deeper, more genuine feel and assisting actors in capturing the complexities of human communication.

subtext

Subtext importance:

Although a lot of real-life communication are not verbal, subtext gives performances depth and reality. Actors may make their depictions deeper, more relevant, and captivating for the audience by being adept in bringing out the complexities of a character's connections and emotions through subtext.

Techniques for Discovering and Conveying Subtext

1. script Analysis: To learn more about a character's relationships, past, and deeper motivations, actors might examine the screenplay. This makes it easier to spot instances in which the dialogue may not always be consistent with the subtext. 2. Asking "What is my character really thinking or feeling here?" is an example of internal monologue. Alongside the spoken words, actors might compose an internal monologue. Actors are able to depict the intricacy of subtext by using this internal thought process.

3. Use of quiet and Pause: Timing, quiet, and pauses are effective ways to communicate subtext. An unspoken message, suppressed emotions, or internal turmoil can all be implied by a well-timed pause or a tiny hesitation. 4. Nonverbal Cues: Subtext is influenced by posture, gestures, eye contact, and body language. A character may, for instance, stand with their arms crossed while saying something upbeat, indicating defensiveness or unease.

‘“The greatest wisdom is to realize one's lack of it.”’

Konstantin Stanislavski

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