STANISLAVSKI | The Method of Physical Action
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- Опубликовано: 3 авг 2024
- The Method Of Physical Action was emphasised towards the end of Stanislavski's career. The technique saw a move away from endless research and towards physical rehearsal. Also, it was a way for Stanislavski to distance his students from the self-indulgent 'emotion memory'. The Method of Physical Action was a way for students practising the Method/System to experiment with performance size and space (proxemics) as well as character physicality - all with a view to achieve their objectives.
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0:00 The Method of Physical Action
4:36 Stanislavski Quote
4:53 How to Use
8:44 Psychological Actions
11:20 Verbs
12:47 Conclusion
14:27 Want to Know More?
All music provided, licence free, from RUclips. All footage by cottonbro from Pexels; Canva.
All included images and footage used for educational commentary purposes and covered by fair use.
How will you use the Method of Physical Action in your acting practice? Let me know down below.
Just look at your act...then...tell to your self...is that yummy????
Just discovered your channel, I've been a role player in training scenarios for the past 5 years, and have earned a reputation as one of the best in my part of the country for my emotional and realistic portrayals of my roles. I didn't even realize I've naturally followed the Stanislavski method, I've always had a strong imagination and I've been very emotional my whole life, and have learned how to control my emotions. Also in roleplaying, I am put in extremely physical and emotionally charged situations, which makes improv and acting come easily and naturally for me. My first day of role-playing I made the mistake of using my son's name to call for like he was missing presumed dead, and while the emotions it brought on got me instantly noticed and jump started my career, it was extremely mentally taxing. I haven't brought him back in my method since that day, but I regularly use emotional memory and different techniques that have started to add up and take a mental toll after 5 years (especially since almost everything I'm acting out is negative in some way). Watching your videos for different techniques to try so I don't keep f*cking up my already messed up brain haha! Thanks for your content!!
Thank-you for watching. It means a lot. I'll have some new content dropping next week.
I found this short lecture/class on acting very helpful. And don’t worry it’s not about effective memory for playing a part which Stanislavski first introduced, it’s something more important and better for actors, wishing to grasp onto a character.
I always found accessing emotional memory from the past very stressful, I was at a juncture where I thought I should stop learning acting.. but then I came across your channel.. thank you so very much for affirming my belief that it indeed can be stressful and also not true to the given situation... I am trying now to play a character by building a backstory and trying to put myself in that situation.. and yes I can confirm that it wouldn't work on day one (at least for me).. but as you go through the character few days, you feel for him/her.. I latch on to that.
Excellent! Good luck.
@@OrganicActing thank you 🙏🏼
So well said. Best explanation I’ve come across. Truly excellent work! 🙏🏽
Thank you so much.
Thankyousoomuch ❤️✨
Thank you for watching!
Hellloo! Welcome to organig acting. Love this intro Simple yet it brings the excitment The urge to learn new things makes it more beautiful. You're amazing teacher I have all my doubt Cleared
Thsts nice to hear. I was never sure of a good intro, it just stuck. ☺
Spot on bro, as per usual!
You are a legend amongst men.
@@OrganicActing Apparently it does take one to know one, after all! By the way, here's one of my favourite quotes from this episode: "You might be a train driver from a cold country." I don't know why that tickled me. I think because it made me imagine a chap called Helmut, and on his Tinder profile his bio reads: " Helmut. 49. I am a train driver from a cold country. " Helmut there - playing the mysterious card from the ladies. 😂
Lol. I was just remembering East 15 where I played Nil in Gorky's 'Philistines'.
So how do you feel the character emotions without emotion memory?
A:
Really feeling and understand the character?
Or in other words EMPATHY. Can you put yourself in their shoes? Even if you were playing Adolf Hitler you would need to understand his given circumstances and EMPATHISE (not sympathise).
In laymans terms: research.
Emotion memory limits you to THE ACTORS history and emotion. Given circumstances and objectives free you from this.
Furthermore, this video is about the MOPA: how DOING, physical activity and rehearsal can help you 'feel emotion'. Again, this is all theory by Stanislavski of course. You can take it or leave it. 😏
@@OrganicActing tyyyyyy
I googled this cos a studio in another city uses this and method acting. I have no idea what these are so I wanna k is what I may be getting myself into… haha!
😆 Did the video give you a better understanding...?
@@OrganicActing yes it did! Interesting to know really… I didn’t think there’d be different methods to acting. But this was really informative and is making me excited to attend my first classes!
Can actors actually apply this in auditions or in front of a camera in med shot? I have been wondering about that. Because in film, this can be applied in long shots and auditions you are limited because you cannot move from your spot
Good question.
To an extent. There are still elements of physicalisation that can be used in a medium or even close up.
But yes, there us a limitation. This is why Method Acting was created - to adapt Stanislavski to screen performance.
By the way, have you checked out my latest screen acting video?
Do you practice everyday??
It can be a good idea to work on something every day: voice, movement, audition speeches, accents etc.
Thank you, great video easily digestible. However, I disagree with your view on emotional memory. There is no reason why an actor cannot draw on an emotional memory and inhabitant that "place", say your dog dying, and incorporate that into action acting. It's the same for myself as a singer when covering a song. Firstly, understand the narrative of the song you are covering, secondly, take a similar life experience that matches that narrative, thirdly sing from that place. When a song is sung with emotion then it strikes home it's the same as acting, the audience will suspend their disbelief more readily if moved by the performer. Maybe some are unable to draw in emotional memory without falling into the pit traps. For myself, and many other performers, these potential dangers are no problem. In fact they are so insignificant that for people with the mindset I have would not even call them a problem but an advantage.
I'm a big believer in whatever works for you.
Having said that, my own feeling is that emotion memory does evoke feeling but using THE ACTOR'S memories/experience removes you from the given circumstances of the piece. The character and the text should be paramount; automatic recall should be a last resort.
Of course, your own mileage may vary...
@@OrganicActing 100% agreed. If it works it works, but it sounds like a crutch, and you will be limiting yourself to things you can relate to.
I wish this music wasn’t in the background- very distracting
Thank you for the feedback.
OMG OMG Sense memory is NOT limited to that which you personally have experienced!!!! Full freaking stop. That is a misunderstanding from the US tour Stanislavsky took in the 30's.
He was never able to convince his American proteges that they were laboring under enormous misconceptions, partly because they had already significantpy monetarily capitalized on the ideas they had seized on, called THAT "method" and so they all flatly refused to listen to a word he said. It freaking broke his heart and his spirit. It was plain greedy and shitty.
Here's how the whole thing went down. This is just one of the reasons I won't teach American Method.
Stanislavsky was always experimenting and for a brief - very brief - second, he put forth the idea (just a notion, as he had not yet worked with it and once he did, he quickly discarded it as not useful and potentially even dangerous) namely, that you can work with what you personally have experienced only. And that you can draw from it like drawing water from a well, again and again.
Sadly, THIS NOTION IS FALSE. It leads to desensitization, which then leads to forced acting, which then leads the actor to shut down. As in flat, boring performances that are not "nuanced", or truthful, just dull and repetitive. The emperor, in effect, has no clothes. No one wants to admit they are bored and frustrated.
If you're feeling frustrated, "stuck" and not enjoying acting, this is the BIGGEST reason why. Because that shit is also massively triggering and can even inflict harm. People like River Phoenix, who were abused and used these memories in their work, have been driven to suicide.
It IS a wonderful way to control people, though. And control they did. Just read up on what Marilyn Monroe's teacher DID to her. Monsters.
Sense memory is the exact opposite of recalling personal emotional traumas. It most closely resembles what very small children do when they are playing "pretend", which is an engrossing, all immersive experience during which the constricting sense of self IS COMPLETELY LOST, subsumed by completely other individuals, with unique habits of locomotion, facial expression, gesture, memory and objectives.
I don't remember prescribing an absolute.
Thanks for responding. In the absence of teaching foundational approaches to the actor's instrument, and relegating these approaches to brief "warm ups" not associated with the core training, students are set adrift.
😂I just listened to your video and discovered you agreed with much of what I said. 😮
@@leslielandberg5620 It's all so interesting. I love how Stan was experimenting his whole life and evolving his Method!