2. LESSON OBJECTIVE
• To understand the goals of Representational Theatre
• Can apply ‘The System’ to given scenarios.
• Can evaluate and discuss why Stanislavski’s Methods are still prevalent today.
3. SO WHAT IS REPRESENTATIONAL THEATRE?
This type of performance aims to literally represent real life, or at least, a version f real
life. The characters on stage, they way they think and feel, how they speak and behave
towards each other, the problems they find themselves experiencing and the way they
experience them, remind the audience, if not of their own lives, of the lives of living people.
In essence, representational theatre is a representation of real life as we know it.
Representational Style:
Drama that imitates life as sit explores human
psychology by placing characters in life-like
situations and relationships on stage. Because it’s
an imitation of life the characters don’t know the
audience is there.
4. SO WHAT IS REPRESENTATIONAL THEATRE?
Because this style seek to reflect reality, during a performance the characters are so
engrossed in what they’re doing and why they’re doing it with on stage, that they seem to
ignore the audience. In fact, most types of representational theatre, the characters don’t
know the audience is there at all. Yet as they feel, emote and react on stage, the
audience hopefully will feel too. As the characters discover more about themselves, the
audience hopefully will too.
Representational Style:
Drama that imitates life as sit explores human
psychology by placing characters in life-like
situations and relationships on stage. Because it’s
an imitation of life the characters don’t know the
audience is there.
5. KONSTANTIN
STANISLAVSKI
• Born 1863 & Died
1938
• Russian actor and
theatre director who
developed
Characterisation
approach for
Representational
Theatre.
• Stanislavski’s work
paved the way for
modern
representational
acting.
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6. THE SYSTEM OF
ACTING
• Stanislavski’s System enables actors to create a
three-dimensional and complex character with the
goal of creating a believable, tangible and
interesting portrayal to the audience. An actor can
create a clear personality, history, psychology and
set of future goals for their character, just like in real
life.
• Some of the processes that form the System
include:
• Given Circumstances
• Fundamental Questions
• The magic ‘if’
• Affective memory
• Method of physical actions
• Objectives
Believable
Tangible
Interesting
7. THE MAGIC ‘IF’
• During rehearsal, when experimenting with the text within a playing space, actors might
aske themselves:
If I was in this particular situation, at this time and this location space, with these given
circumstances, then what would I do?
• This is the magic ‘if’! In developing a character when an actor looks to their own
personal experience and way of seeing the world, they may get some new ideas
about their character’s reasoning, emotions ad reactions. Using the magic ‘if’ allows
actors to draw directly on their own personality, ways of doing things and
perspectives to help build authenticity in a character. If an actor can honestly say
they would do this particular thing, then it should be believable.
8. THE MAGIC ‘IF’
• During rehearsal, when experimenting with the text within a playing space, actors might
aske themselves:
If I was in this particular situation, at this time and this location space, with these given
circumstances, then what would I do?
• This is the magic ‘if’! In developing a character when an actor looks to their own
personal experience and way of seeing the world, they may get some new ideas
about their character’s reasoning, emotions ad reactions. Using the magic ‘if’ allows
actors to draw directly on their own personality, ways of doing things and
perspectives to help build authenticity in a character. If an actor can honestly say
they would do this particular thing, then it should be believable.
The magic if can be particularly helpful
is you find yourself ‘stuck’ in a scene
Try the magic if and do, think or feel
what you would if you found yourself in
those circumstances. Great for Improv.
9. METHOD OF PHYSICAL ACTIONS, OR
‘MUSCULAR MEMORY’
• Stanislavski taught that in real-life internal thoughts and feelings are directly tied to
physical expression and actions.
• He believed that everything that goes on inside the mind, and internal self is
communicated through the body, including facial expressions, gestures and other
movements.
• Using his techniques an actor explores gestures that are used:
• With specific emotions
• At specific times
• In specific places.
• It is vital that these gestures are life-like. They should be:
• Gestures which the actor personally uses in their own life
• Gestures that are life-like and used by other people in real life.
10. MUSCULAR MEMORY – IN PRACTICE
• As an actor you are going to experiment with the method of
physical actions.
• Stay focused on what you are doing, and without looking at
your teacher or your peers, simply notice the instructions and
carry them out…
11. IMPROVISATION…
• In partners or 3s you will create a short semi-improvisational
scene where the friends meet for the first time after the scene
we just attempted.
• Try to consider the Magic ‘if’ and your muscular memory for this
short piece.
