Stanislavski in Practice: Exercises for Students
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.
- 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
the students’ work. I too was amazed at the difference in the students’ work after the free-body relaxation. I have used free-body relaxation across the country, with a wide variety of students, always to positive reaction, ranging from ‘was that magic?’ in East London to ‘I want to kiss you’ in Brighton! I now use this exercise as an integral part of any Stanislavski workshop, and I recommend you, as a student of drama, use the ‘Relaxation’ exercise in this chapter as a cornerstone of your
practise the new postures you learn at home. The tensions we have in our body are relaxed through yoga. Yoga is the combination of the mind, spirit and body, and so, by doing yoga postures, we relax the mind, spirit and body to create a calm state to begin our work on a character. Yoga allows the actor to experience the flow of energy that creates the perfect state on which to build a character. Performance tip On the day of a performance, get up a bit earlier and practise yoga, relaxing your
around you. Slowly start moving around the space, using your senses to make sure you don’t collide with anyone. • If you walk into someone, stop, refocus and slowly move on. • Move your awareness around the room; try to picture in your mind’s eye everyone else’s positions around the room. Figure 5.11 Practising the ‘Awareness’ exercise. Constance and Amber are just slightly off line here; ideally, your hands will meet perfectly, and it is worth practising until you get it spot on Notes for
auditioning for drama school will find these classes invaluable and a lot of fun! You will probably be auditioning alongside students who have danced since they were five or had regular singing lessons, so it’s best to start thinking about those skills now, while you have time to work on them. For students studying for the BTEC National qualification, this chapter, combined with the exercises in free body and communication, will help fulfil the syllabus criteria for physical preparation,
will need to design an impressive act to satisfy the audience, hungry to be amazed. • Imagine what you can hear, touch, taste, smell and see. The circus big top will have very distinctive smells; you will hear music, children and families laughing. • For this exercise, you will imagine you are performing in front of a packed house. Imagine the audience all around you and how you want them to react to your show. • Rehearse your act several times; build in the interaction with the audience and