Stanislavski in Practice: Exercises for Students
Nick O'Brien
Language: English
Pages: 200
ISBN: 0415568439
Format: PDF / Kindle (mobi) / ePub
Stanislavski in Practice is an unparalleled step-by-step guide to Stanislavski’s System. Author Nick O’Brien makes this cornerstone of acting accessible to teachers and students alike.
This is an exercise book for students and a lesson planner for teachers on syllabi from Edexcel, WJEC and AQA to the practice-based requirements of BTEC. Each element of the System is covered practically through studio exercises and jargon-free discussion.
Over a decade’s experience of acting and teaching makes O’Brien perfectly placed to advise anyone wanting to understand or apply Stanislavski’s system.
Features include:
- Practical extension work for students to take away from the lesson
- Notes for teachers on how to use material with different age groups
- Exam tips for students based on specific syllabi requirements
- A chapter dedicated to using Stanislavski when rehearsing a text
- A glossary of terms that students of the System will encounter
circumstances using the magic if. If I was still in the drama studio, what would my surroundings now look like? If I was still here, what about my family – what would they be thinking? How will I get home? • Using if, question yourself, so that you start to imagine you are in the different circumstance and the effect this change is having on you. • Imagine that you are still in class, but now in a completely different part of the country. If you live in London, imagine you are now in Brighton,
relaxing my ankles my ankles are completely relaxed I am relaxing my calves my calves are completely relaxed I am relaxing my knees my knees are completely relaxed I am relaxing my thighs my thighs are completely relaxed I am relaxing my hips my hips are completely relaxed I am relaxing my stomach my stomach is completely relaxed I am relaxing my chest my chest is completely relaxed I am relaxing my lower back my lower back is completely relaxed I am relaxing my
imagine scratching your nose and send this physical act to your partner. • Allow yourself to relax, and open your mind to sending or receiving; don’t try to push; and keep the physical acts simple to start with. • For the receiver, when you open your mind, something will just pop in. • When you receive the ray, perform the act that the sender wanted you to perform (Figure 5.3). • Now swap over roles, so that the sender becomes the receiver, and the receiver becomes the sender, remembering to
is a private house, not Madame Tussauds. I admit I found it flattering when I arrived, this English passion for standing and staring, but I’d rather be melted down, thank you, than have any more thumbnails surreptitiously pressed into my flesh, so please … go away! Oh very well, stay where you are, catch your death for all I care. What do you want? [He goes to the intercom. She raps frantically. He doesn’t press the buzzer. She speaks. We don’t hear her through the glass.] Jessica I have to
about what you’re wearing and want to go out and get a new shirt. You ask the manager, and he tells you to get on with your work. You have checked your hair fifteen times already, and it’s still not right. Your objective is ‘I want to survive the encounter’, and your action is ‘I panic/I dread’. • You are 24 and a senior sales assistant. You have worked in the boutique for about a year. You love clothes and fashion and spend all your disposable income on clothes. You have always got on well with