Konstantin Stanislavski created a form of acting that has shaped the way in which acting is taught and learned today. Stanislavski was a pioneer of this new type of acting style that involved more then just focusing on physical vocal training. His new and innovative style was focused on developing an actors ability to use his or her emotional or internal state and applying it to their performance. Stanislavski calls this method the “art of experiencing”. This allows an actor to activate his or her subconscious behavior and apply it to their performance. He talks about how the motive of the actor will justify an action in a scene. Through this method Stanislovski has helped the development of truly “experiencing…show more content… Relaxation’s purpose is to free an actor up from any stress or tension they may have. In order to truly transform oneself into a character, an individual needs to be relaxed both mentally and physically. Stanislavski has multiple suggestions on how to relax, but agrees that what ever techniques are most beneficial for that individual should be used. The goal for the actor is to “reach a state of solitude in public and not feel tense when performing on stage.” There are multiple techniques that can help strengthen an actors ability to concentrate, while at the same time relaxing. One of Stanislavski techniques is to have an actor or actress close his or her eyes and concentrate on every single sound in the room. Not just loud noises, but small ones too. This activity can be done in a room or outside, but as one does this activity, he or she should start to tune in to specific individual sounds. Focus on them for a small amount of time and move on to another sound. This will help the actor strengthen their focus while relaxing through…show more content… Through the ability of the actor to live in the world of the play truthfully they can begin to attempt the next parts of the Stanislavski method, which are the “Given Circumstances” and “Contact and Communication”. These steps involve an communicating with other actors or actresses in a the imaginary circumstances that the script provides. He or she must be one hundred percent in the moment in order to fully understand motives for actions. This brings up the next step to the Stanislavsky method which is the most important to portraying a character, he says in his book “Creating a Role”. Stanislavski, in this section, introduces the beginning process of developing a character. From this point an actor needs to create objectives for the role in which they are playing. These objectives need to be internalized and through this internalization, an externalization effect will occur where the objectives of the character will be seen in his or her actions. This is the signature lesson in which Stanislavski brings to the modern teaching of acting. He introduces the idea of having an objective, (driven by a goal, desire or want) and is internalized which creates an external action. These actions also must be logically connected and believable with regards to the play. The final stages apply to working on the text of the play itself. Stanislavski is
