The Stanislavski Factor

By: Kirk Smith


Something that really intreagues me as an actor is the topic of method acting. To many actors, even mentioning the very words will make their faces grimace as some actors may feel the practise totally unecessary to achieve the role or part in hand. Methof acting however is not so uncommon and there are many great actors who still practise the technique. From Marlin Brando many years ago to modern day actors like Sean Penn; the practise is still in play. I for one was always some what narrow minded when it came to method acting but after studying and employing just a few of Stanislavski's findings, I was soon to start dancing to a different beat!

Let's face it, as thespians we will always express our own thoughts in relation to acting and the way we perceive the craft but let's just ponder over this for a while. When we think of film for instance, the whole idea of performing may quite easily be one of the most under valued issues in film actuates.

So studying at an actor, what can we say that it is that he or she contributes to a movie, and even more so, just how does the actor or performer go about achieving it? This is important because when we look at successful movie actors and performers we can simply debate that the actors who achieve the more dynamic impact, strangely enough, are the actors who actually do not act. Sure it sounds a little crazy but stick with me on this! Great actors can be thought of to be not acting as we like to look at it but to actually be becoming only themselves and reacting or perhaps 'responding' Now this is key here.

All I've pointed out here closely relates to the acting method known as The Stanislavski Method. This method was to stop actors becoming 'sheeplike' and not following the habitual way of performing on stage but instead to focus their actions, and mannerisms in a way that a person would carry on as themselves in their private life.

Who Is Stanislavski?

Konstantin Stanislavski was part of the Moscow Theater and was very well thought of for some great books that he'd written about acting and even more so, for his great book 'An Actor Prepares'. This is one of the most refered to publications in conjunction with method acting.

It was at the Group Theatre that was which was formed in NYC, in 1931, that Stanislavski's acting methods were showcased with the theaters most highlighted performance of Waiting For Lefty. Unfortunatelty though The Group Theatre ceased to contunue after the thirties but one thing that can be surely be said is that the theater left a great blast in Hollywood and film.

Stanislavski's 'Method' would get an actor to go firmly within themselves and bring out their own unique experiences, memories etc in order to shape the basis on how a character may express any movement and speech. Some of you may have been on stage and had to do a very emotional scene that has required great intensity and tears. These scenes can be very difficult even at the top of our game. One of the best ways to find the emotion is do what is known as 'an emotional recall', all bearing the relevance of Stanislavski's 'Method'. An emotional recall is going back to a traumatic time in your life when you felt an emotion that can be some how compared to the emotion required in a particular scene. It is the case of chanelling all of your energy into this particular emotion and bringing it into your present character portrayal.

When an actor uses the method, he or she can delve deep within and become even more complex with their character portrayals, their inner feelings and elation. A performer is no longer limited to portraying a character with just one single avenue , The method lets an actor be more adventurous and really FIND ones self. I highly recommend you consider grabbing a copy of Stanislavski's book.



For all the latest and revealing info about acting and show business, go and check out www.kirksmithmedia.com Kirk Smith has starred in shows such as Brookside, Emmerdale & Children's Ward.