RI Research - Published onto Blogger

Building A Character by Constantin Stanislavsky

1. A play is not complete until GENUINE human emotions are put into the characters.
2. Words should not be forced through the actors, however, should be mixed into the thoughts of the characters.
3. Feelings should be incorporated into what the characters are feeling/saying
4. Audience should feel an alternate feeling for the character and shouldn't be focusing on what the actor is doing in order to fit that role. (Actors should suffer, as they are the characters that they are representing and not themselves) (Eg. Don't wipe the sweat from your forehead)
5. "It is only when our feelings reach down into the subtextual stream that 'through line of action' of a play or a part comes into being. It is made manifest not only by physical movements but also by speech: it is possible to act not only with the body but also with sound, with words."

Stanislavsky's Method

http://www.acting-world.com/method.html

1. “The main difference between the art of the actor and all other arts is that every other artist may create whenever he is in the mood of inspiration. But the artist of the stage must be the master of his own inspiration and must know how to call it forth when it is announced on the posters of the theatre. This is the chief secret of our art.” - Stanislavsky 

What is the Meisner Method of Acting? - Website

http://www.wisegeek.com/what-is-the-meisner-method-of-acting.htm

1. Acting should be based on how well you know yourself, and how well you know your character.
2. Stella Adler's imagination on acting - grasped his attention as well - went against this theory
3. Meisner believes in repetitive warmups as practice
4. Unclear motives are key in order for actors to get used to the feeling of disorientation on stage, so that they are not themselves.

Stella Adler - Imagination In Acting

1. Acting is 'doing' - actually believe in what you are acting upon, as it is your character who is actually doing it.
2. In order to get the idea and story of what the play is trying to get across to the audience, you must study the "social situations" of the play.
3. You need to have a presence on stage - whether you are born with it or you act well enough to create it.
4. In order to create a more imaginative mind, actors need to look for the specific details in the things that they perceive around them.