The Use of Stanislavskis Ideas to Guide Actors During the Rehearsal Process :: Konstantin Stanislavski Acting Theatre Essays

The Use of Stanislavskis Ideas to Guide Actors During the Rehearsal ProcessStanislavskis ideas on relaxation, concentration of attention andtempo-rhythm went into great detail. He had very distinct, yet unprejudicedto follow ideas on each three, which actors still make practise of and study tothis day.Stanislavski dwelled on concentration of attention to a great extent.The use of attention when contend a role was considered veryimportant. Concentrating on the attention was a expertness that came frompractise and focus, beginning in rehearsal and continuing into thefinal performance. The surmise of concentration of attention is being up to(p) to concentrate on a particular part of the scene, which could bean object, a physical move or listening to the talking to. This altogetherows theactor to concentrate on the part of the play and get along what is going onand happening somewhat him, so there argon no free moments. This meansthat each performance is similar, as the unifor m objects of attentionwill aid the same actions, movements and speech. It keeps theperformance consistent. Taking the possible action of concentration a stepfurther, Stanislavski devised the destinys of attention. This waswhere an actor would create a circle in his or her own performancewhere they would devote their entire attention. Anything outside thecircle would cease to exist. This would mean the performance would betotally dedicated, without any good luck from anything else, like anoise from the audience, or anything out of the ordinary. Not allperformances allow for this approach to attention, as some may requirethe request to monitor the audience and connect with them. This would bethe case when a speech is delivered directly to the audience. Or inthe case of a comedy, an actor involve to observe the audience reactionand alter the performance. This is where concentration of attentionbecomes to a greater extent complex. A performer must be able to split the promontory i ntotwo. The first part being committed to the act, the second being ableto take into account any external conditions. As a director, the useof concentration of attention is important to allow the performers toact at their stovepipe ability. The relevant use of concentration would beessential. For instance, when playing a singular, lonely part, likethat of Davoren at times in The Shadow of a Gunman, the use ofcircles of attention would be very useful. Sitting at his typewriter,attempting to write poetry, he has no interaction with any othercharacters, and requires no audience response. Therefore, he candevote his entire concentration into the role and the scene aroundhimself. However, if playing the role Mrs.