Stanislavski - Truth and Concentration

The Stanislavski System  PART TWO
 TRUTH AND CONCENTRATION 

Psychologically influenced; an actor can’t pretend to think and feel, he/she must really do so.

Warm Up - (whole class) 
(Concentration/Attention) 
The class stands in a circle. Count together to thirty. Clap your hands once when a number includes or may be divided by 3. Then repeat the exercise, but clap twice when a number includes 5 or may be divided by 5. If the number may be divided by both 3 and 5, clap three times.

Exercise #1-  (Improvisation and Writing)

The Bus Stop 

Point of Focus (POF) - Each actor should try and tell a beginning/middle/end to their story through actions chosen, and try to maintain a group scene as well by listening and reacting to all of the others at the bus stop.

GIVENS of the scene 
(the circumstance you're character is in): 
A Bus stop, dinner time, busy traffic, bus is running very late...

A. The Actors get character suggestions as they head up on stage to join the scene. Some actors should be coupled and should write together.

Finding the Truth in the scene by being focused.

Each actor asks the following questions and writes them down:
Make realistic but bold choices

- Who am I? (A very broad question...but a good start)
- Where am I?....and WHY am I here?
- Where am I going?
- What am I thinking about and why?
- With whom am I speaking, watching, or listening ?
-  What do I want?...or better yet what do I need?  

B. One bench on stage.

C. One Actor sits on the bench to begin.

D. One by One the other actors add themselves in to the scene until everyone waits. 

NOTE: Try to play without speaking to each other at first and justify the silence. 
GO FOR THE ACTION!!!
Then add talking if even needed.

E. Some coaching from the teacher may happen to keep the urgency of the scene going.

GIVENS TO ADD as the students play. 
A snow or rain storm moves in, someone is suddenly discovered to be something they are not, cats start coming out in droves, someone is discovered to a gunshot wound and had been hiding it. 

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Exercise #2 -  (with writing)
The Elevator
Same game as above but on the elevator.

USE A BELL and a VOICE OVER TO DETERMINE FLOORS

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Exercise #3 (with writing)

ENTRANCES 

Part 1
Concentrate on the details of the scene and perform a series of truthful entrances  

Before you enter... 

make a strong choice about the following:

ASK (to find truth):
- Where is the character coming from?

- What has happened to you before you arrive?
- What's in the room that you need? or need to do?

- Who's also involved but not seen?

WRITE:

- All of the actions the character would go through with each "given" (you've created) for this moment when the character enters the room.

PERFORM:

-Each student demonstrates all of the actions in order as they play out their scenario.

DISCUSSION
-"Was the actor concentrating on the details?"
-"Did the scene contain elements of truth?" 
-"Where was it most honest?"

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Part 2 - Quick Add on
(not every student needs to perform)

Enter the room to find something: 

- A letter calling off the engagement

- News of the death of a rich old aunt from whom you are due to inherit lots of money.

- A lost item (keys, a letter, an old book, your wallet or purse, your child...)

Make up more if time allows!

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Exercise #4 (with writing)

EXITS 

Part 1
Concentrate on the details of the scene and perform a series of truthful entrances in 30 seconds  

Before you exit... 

make a strong choice about the following:

ASK (to find the truth of this moment):
- Where is the character off to?

- What has happened to you in this room?
- What's in the room that you need to get away from? or need to get away to?

- Who's also involved but not seen?

WRITE:

- All of the physical actions the character would go through with each "given" (you've created) for this moment when the character enters the room.

PERFORM:

-Each student demonstrates all of the actions in order as they play out their scenario.

DISCUSSION
-"Was the actor concentrating on the details?"
-"Did the scene contain elements of truth?" 
-"Where was it most honest?"
-"Who just wants to improvise their way through it?"

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Part 2 - Quick Add on
(not every student needs to perform)

IMPROV
Enter the room to find something: 

- A letter calling off the engagement

- News of the death of a rich old aunt from whom you are due to inherit lots of money.

- A lost item (keys, a letter, an old book, your wallet or purse, your child...)

Make up more if time allows!

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REVIEW of  Part 2: "Truth and Concentration"

Stanislavski was trying to get us to see that the “Subconscious” - the uncontrolled complexity of our emotions were controlled by PHYSICAL ACTION - This is the essence of the whole system, and Stan’s creative heritage of the theatre (result of 40 yrs. work).

Keep concentrating on the givens and playing the "magic if" to decide on the truthful ACTION... Then the actor can let the truthful emotions that follow come forth.

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