Konstantine Stanislavsky was a Russian actor in the late 19th century who revolutionized the way that actors approach their characters. In an era when what constituted good acting was typically melodramatic and departing from realism, he introduced the concept of method acting, which is still in use today, which stress realism and believability in performances. His approach, known today as simply “The Method” or the “Stanislavski system” has a variety of strength that have led to its continued application for acting, because of how the system works.
Generally, however, when considering overarching strategy, most of the specific methods that were introduced as a part of the Stanislavski system are focused on character study and development (Cole & Strasberg 28). By anticipating what the character is thinking, feeling, and the way in which they are responding, the actor’ s performance is much less about performance, or theatrics, and instead about storytelling and depiction.
One strength of the Stanislavski method which has allowed method actors to focus on the character to a greater degree, is his emphasis on changing the way that actors think about their movements while they are on stage. Before the introduction of Stanislavski and his ideas, as previously mentioned, good acting was typically over emphatic and melodramatic, in contrast, however, Stanislavski wanted to alter the way that actors physically demonstrate their character’s thoughts, feelings, and actions and increase the realism of their movement. This required him to compel actors to move in ways that were more true to life, and more natural, while focusing on projecting their voice, so that audiences could hear their response, with greater emphasis (Cole & Strasberg, 36).
Additionally, one of the primary concepts within the Stanislavski method, as it directly relates and which makes it successful when applied to acting, is the “Magic If” (Carroll). The “Magic If” refers to the actor actively asking “If I were in the character’s position, how would I react?” This is the basis of all method acting because it places the actor in the mind set, or the emotional state of the character. Asking the “magic if’ question allows the actor to consider the natural reaction that might occur as the results of the stories plot points, so that their reactions, in terms of expression and emotions, are realistic and believable.
This is very closely related to the concept of emotional recall as it relates to character development (Carroll). Characters do not experience with all five senses, but actors do. As such, it is important for the actor to integrate their own emotional recall, and so the responses of their senses, into their character portrayal. Emotional recall might include considering the emotional connection that one has to a certain smell, or texture. The smell of baked bread, for example, might make an individual homesick, or nostalgic, because of its connection to childhood, so when entering a kitchen in the story that is being acted out, they might emotionally connect with that smell. This tool, or method, is intended to help the actor achieve a greater emotions connection, and so a higher level of character truth, while performing.
Another major focus of the Stanislavski method, as it relates to character development, which poses a strength for the method as a whole is its focus on motivation. The “super objective” as it is called, asks, what a character wants during the course of the play, or what a characters motivation is for acting a certain way, or pursuing certain actions (Carroll). When performed correctly the method will lead the actor to constantly consider what is motivating the character. As a result, “every action of the stage must spring from a logical motive” (Cole & Strasberg, 260). The motivation is in harmony with both the character, and the situation that the character is paled in, so that it gives a clear cause and effect relationship between all the major plot points
Finally, Stanislavski’s method called for a sense of connection. Members of the ensemble need to not only connect to their characters, but also to connect to one another as a group. He stresses the need for “artistic unity” within the ensemble, so that each individual’s performance enhances and supports the performance of other members of the cast (Carroll). Overall this creates a more cohesive, and so a more realistic depiction of the characters’ lives.
Konstantine Stanislavsky transformed and modernized the way that actors depict characters and interact with the story they portray through the development of a system, known today, simply as Method Acting. The “Stanislavski system” has several strengths that ultimately lead a character toward a more realistic interpretation of the character, and their movements, creating a believable performance. By focusing on action, motivation, emotion, and movement, each of which must be specifically motivated and tied to real experiences, the character is brought to life on stage, and made memorable because they are both real and relatable. This is why the Stanislavski system, while dated, is still widely used in the education and professional development of actors today.
Work Cited:
Carroll, Sydney Wentworth. Acting for the Stage: Art, Craft, and Practice. London: Pitman, 1949. Print.
Cole, Toby, and Lee Strasberg. Acting: A Handbook of the Stanislavski Method. New York: Crown, 1955. Print
