I've found all of the books from the email, and I've messaged several of my theatre friends asking them what they do to prepare for a role. In the meantime, I've started perusing the books. With my other five classes, I don't have time to read everything word for word, so I'll have to skim. The first one is An Actor Prepares by Constantin Stanislavski. In fact, my Intro to Characterization class focuses on the Stanislavski method of acting, so I might as well start there.
According to Stanislavski, you should experience the same feelings and emotions that the character feels; basically, you should feel what you portray. And each time you perform it, it should be as if you are doing it for the first time, to keep it fresh. How? How can this be accomplished? In order to feel those emotions, I must study the character. I need to know as much about them as possible, which means some research is called for. Reading the play is the first step. But I need to know more. Where do they come from? What experiences have they gone through? What is their way of thinking? What time period do they exist in? I need to live the role, to become the character, in order to portray them correctly on the stage. I need to see the world through their eyes.
Lee Strasberg also specializes in delving into the history of the character. However, it seems he believes that it's vital to know their history prior to the events of the play, what the character must have gone through to get where he or she is now. But how can that be done? If the playwright only wrote the character in the play, and not prior, how can you know what happened to him before the play? It was never discussed. Am I just supposed to come up with a backstory for the character, to make them up as I go along? By doing that, I don't think I'd be remaining true to the character. But who knows? It might be beneficial to even just try it out.
Stanislavski also talked about how important purpose is. Every movement made by the characters, every task that they do, it must be done for a reason. For example, my character is sitting. Why? Is he tired? Is he unable to stand? Or let's say my character is pouring a cup of tea. Why? Is he thirsty? Is he getting tea for someone else to be polite? Or even if my character is pointing at something or someone. Again, why? Is he angry and accusing someone of something? Is he just noticing someone or something for the first time? The point is, be very aware of everything you do. It must have a purpose; otherwise, why are you doing it in the first place?
Overall, both Stanislavski and Strasberg can be added to my character development method. Stanislavski focuses on experiencing emotions and purpose to give a convincing and genuine performance. Strasberg, on the other hand, emphasized knowing the character completely before playing it, plunging into pre-play history that may involve some original work on the actor's part. While I intend to incorporate both methods into my project, I'm uncertain as to where I can find techniques related to them. With Stanislavski, I can look in his book and perhaps even find some examples on YouTube. With Strasberg, I believe I have a scene analysis sheet that could come in handy for research. It won't delve into history as much as it should, but it can help with the construction of a scene. I will include that in notes section of my report.
YOU ARE READING
The Senior Capstone Project Journal of Aaron J. Holt
Non-FictionUpon completing his senior year at the University of Minnesota, Aaron J. Holt put his theatrical skills to the test. Tasked with creating his own character development method, Aaron drew from various methods. Then, to prove that it worked, he had to...
