Stella Adler.ppt - Stella Adler Imagination Circumstances and Actions Like Stanislavski Adler placed greatest emphasis on imagination circumstances and

Stella Adler.ppt - Stella Adler Imagination Circumstances...

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Unformatted text preview: Stella Adler Imagination. Circumstances and Actions Like Stanislavski, Adler placed greatest emphasis on imagination, circumstances and actions. If an actor did encounter problems in summoning up an emotion, she would allow the actor to search for a parallel experience in life, but only in order to retain the playable actions from memory and to capture the emotional tone needed which may happen through physical characteristics. So the actor does not focus on the emotion itself, but on the physical embodiment of it: the gestures, the voice, the animation, these will all lead him/her to the feeling. Imagination… Adler believes, imagination is the greatest quality an actor can have. With it, anything is possible, without it, nothing is. Every word, every action, must originate in an actor’s imagination. (consider exercises to enhance the imagination) According to Adler, the actor’s job is to defictionalise the fiction – even though the character, the events and the place are fictional creations of the playwright, the actor must live within them as though they are real. Accomplishing this is an act of pure imagination, and it is consistent with Stanislavski’s majic if. Circumstances… If the actor can make the situations in which character's find themselves vivid and believable, then emotion should flow naturally. So, a clear and deep understanding of the given circumstances is critical for an actor’s truthfulness. The first approach to a circumstance is the “where”. Everything that happens, happens somewhere. A place has a profound effect on our behavior. Consider this statement, relevant to your 2 set texts, consider this statement relevant to improvisation. Using the “WHERE” in an improvisation, means that if you are stuck you can return to the action of the scene, if you are set in an old attic, you could start looking for an old hat and new ideas will come. Dealing with the “where” is a first priority in improvisational work, just as it is for Adler Circumstances cont.. Circumstances also is comprised of a “when”, a “what” and a “who” and each of these must be thoroughly explored and understood before the actor can truly live in the circumstances. Circumstances are also constantly shifting, depending on the dramatic action. The more rich and detailed the actor’s response to the changing circumstances, the deeper the scene will be. (consider exploring this approach of circumstances in both your set texts) Actions Actions occurs within circumstances eg. If you knock on a door, this is an action. How you knock on the door, is a function of circumstance ie. If you knew someone was asleep you may knock quietly, if you were alerting someone to a fire in the building you would probably pound on the door. Actions occur within circumstances. From here she broke down actions into component parts called “activities” Activities into justification Eg. If a character’s action is to fly a plane, he/she must engage in many smaller actions (activities) ie. Check the fuel, assess the weather etc. These activities are in support of the larger action of flying the plane. But why is the character flying the plane? The answer to this is what Adler calls the justification. Eg. It may be to save the life of a wounded man Overall Action The overall action (Stanislavski would call this through-line-of-action) of the pilot might be to win the war. So for Adler, the activities and the actions must be justified and in support of the overall action. She believed in script analysis, she did not believe in wandering far from the world of the play itself. Her goal was to unite the actor and his/her part within the boundaries of the text. Characterisation The first step is a thorough understanding of the circumstances of the play, next we must narrow down our focus to the circumstance of our character. Eg, what is the educational level of our character, what does the character do for a living – however a good character background is one that illuminates the subsequent behavior of the character. Tempo-rhythms play a strong part in Adler’s approach to characterisation as does the observation of animals. (consider some examples). This attitude can then be transferred to human behaviour. Working beyond stereotypes Be careful you do not focus on the external. An actor needs to develop a sense of truth. (consider an example of nail biting – private and public as our playable action) Play the truth and logic of the circumstance, live and do things imaginatively within them and the dialogue will follow ...
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  • Fall '18
  • maya

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