The document outlines seven steps for actors to take when approaching a new script: 1) List facts and interpretations of the character, 2) Determine the character's objectives and super objective, 3) Identify if the character is led by will, intellect, or emotion, 4) Examine the character's relationships, 5) List five contrasting qualities of the character, 6) Note similarities and differences between the actor and character, finding "as if" scenarios for hard-to-relate parts, and 7) Identify the character's ambitions and fears. The reflection encourages using Stanislavski's approach to benefit individual actors.
The document outlines seven steps for actors to take when approaching a new script: 1) List facts and interpretations of the character, 2) Determine the character's objectives and super objective, 3) Identify if the character is led by will, intellect, or emotion, 4) Examine the character's relationships, 5) List five contrasting qualities of the character, 6) Note similarities and differences between the actor and character, finding "as if" scenarios for hard-to-relate parts, and 7) Identify the character's ambitions and fears. The reflection encourages using Stanislavski's approach to benefit individual actors.
The document outlines seven steps for actors to take when approaching a new script: 1) List facts and interpretations of the character, 2) Determine the character's objectives and super objective, 3) Identify if the character is led by will, intellect, or emotion, 4) Examine the character's relationships, 5) List five contrasting qualities of the character, 6) Note similarities and differences between the actor and character, finding "as if" scenarios for hard-to-relate parts, and 7) Identify the character's ambitions and fears. The reflection encourages using Stanislavski's approach to benefit individual actors.
Outline the processes suggested for approaching a new script as an actor.
- Finding the facts and interpretations of your character, listing them
- Facts include the things that are obvious to everyone, e.g. Full name, Age, Where they live, Where it is set, Time (year or time of day), Hobbies, Height. Only list facts that are important to the character, facts that are unimportant aren’t needed. E.g. Hair colour, eye colour etc. - Interpretations are things that you believe about the character. They shouldn’t be the same as someone else’s as they are what you assume about the character. Some interpretations include questions like, Are they a strong character? Do they really enjoy life? What do they believe about other characters? Ambitions, Fears, True temperament Etc. - Finding the objectives and super objective of the character. What does the character want, and want the most, their main object of focus. - Find if your character is lead through will, intellect or emotion. Does your character base their choices off their will power, mind power or purely through how they feel emotionally? Or is it a mix of two or all three? - What are the relationships in your character’s life like? - What are 5 contrasting qualities of your character? - What are the similarities between you and your character? What are the differences? Find the as if’s for parts you can’t seem to relate to. - What are their ambitions & fears?
Reflection. I believe the study of Stanislavski’s approach is going to be highly beneficial to all of us as individual actors.