1.
Konstantin Stanislavski
a.
Method acting: Stanislavski taught his actors to
“be” rather than to “act”. For example, if character is experiencing a loss,
the actor was to pull from himself the emotions that he himself would have felt
in the past, for example the death of a family member, and channel it through
his character to evoke the same emotion.
b.
The circle: when actors were nervous on stage,
he taught them to focus on a small circle, usually consisting of one prop and
one other character. Once the actor became comfortable with the small section
on the stage, he could expand to other characters and props, always being able
to resort back to the initial two items within the small circle if the nerves
were to return.
c.
The magic “if”: Rather than simply having his
actors learn their lines and memorize the expected emotions and reactions
expected to go with them, Stanislavski used the magic “if” to expand the actors
understanding of their characters. He would take the characters out of their scenes
and allow the actors to react as their characters in different situations
through using “if”. For example, how would your character respond if it was
pushed while walking down the street? It allowed them to find the differences
between their characters and themselves.
2.
A pre-sketch is what happens immediately before
a scene begins or a character enters the stage. Its creating the moment right
before the audience sees the character, often explaining where they are coming
from and why they’ve come this way. This helps the actors understanding of
their characters reasoning for being in the scene.
3.
The role of a director is to portray their
vision onto the stage through the different aspects of theatre. They act as a
“coach” to the actors, leading them in the direction they want. They tie
together all aspects of the stage under one vision, ultimately having final say
over all decisions, having the success or failure of the final production
falling over them.
4.
The director’s concept refers to objectives.
Symbolized by the umbrella, the main overall objective is the one word, the
director’s concept, for the full play. Every decision made must fall under that
concept. If it doesn’t, no matter how great the idea, the director must not
violate the concept. Each scene must have an objective that appropriately falls
under the main objective and each aspect within that must fall under it.
5.
Red thread, superobjective, scene objective
a.
Red Thread: the red thread is the constant
character that exists throughout the scenes that ties it all together.
b.
The superobjective: relative to the directors’
concept, is the clear and concise concept developed for the play. Everything
relative to the production must be directly related to this concept.
c.
Scene Objective: Relative to the super objective,
the scene objective is the overall idea that is wished to be achieved
throughout the scene. Every event throughout the course of that scene must be
directly related to the objective. This objective must fall within the general
concept for the entire play, the superobjective.
6.
A creator would use a stimulus as the starting
point to get ideas flowing. A stimulus could be anything like an object, a
sound, a feeling, a photo, that allows the creator to begin a chain of ideas
ultimately leading to the creation of something bigger. The stimulus doesn’t
have to be related to the final product in the slightest.
7.
First
kiss, ghost sighting
a.
A first kiss: down right, best stage placement
to show intimate and tender moments. From this position, you are most relatable
to the audience.
b.
Ghost sighting: up left, best stage placement to
show unfamiliarity and alien situations. From this position, the audience will
be most uncomfortable and frightened.
