Applying Stanislavski’s principles to ‘Hedda Gabler’!
As founder of the first acting system and co-founder of the Moscow Art Theatre, Konstantin Stanislavski challenged traditional nations of the dramatic process, establishing himself as one of the most potent thinkers of his time in modern theatre.
Stanislavski developed this unique system of training to change the
way that people saw their characters. The actors would research the *
situation created by the script, break down the text according to *
their character’s motivations and recall their own experiences, *
therefore causing actions and reactions according to these *
motivations. The actor would ideally make his motivations for acting *
identical to those of the character in the script. He could then *
replay these emotions and experiences in the role of the character in *
order to achieve a more real performance. This was Stanislavski’s *
main aim to create a more real performance.* *The following principles are the principles Stanislavski put together known as ‘The system.’
Circle of attention
Units and objectives
The super-objective and the through-line of action
Tempo-rhythm in movement
Motivation Action Plan Determine the motivational strategy or strategies that would likely be most appropriate for each of your three employees on basis of their individual characteristics. Indicate how you would leverage their employee evaluations to motivate each of the three employees. Describe one or more of the motivational theories and explain how the theories connect to each of your ...
10.The method of physical action
In this essay I will focus on applying each aspect of Stanislavski’s principles to the Realism play ‘*Hedda Gabler.*’* *I will focus on the character Hedda Gabler which is now known as Ms Tesman after she married Jorgen *Tesman.* The reason for me focusing on Hedda is because through our practicals we have been doing in class I had to do a lot of research on her and I have learnt a lot about her character for I am Hedda in my piece that I will be performing.
*One of the great questions I struggle to answer of Hedda Gabler* is whether Hedda’s ACTIONS** are inspired by real principles, or whether she is motivated by boredom. I think no-one actually knows.* **ACTION is applied in *‘*act two*’* where Hedda stands at an open window, loading a* *pistol. Hedda loves playing with pistols because it makes her feel good an*d makes her feel like she has power over everything. Hedda handles her gun with a lot of power and confidence, standing proudly while aiming the gun at Brack.
Flirting with a guy isn’t something that I am good with and that is where applying the term *MAGIF IF falls into place. Hedda and Brack have always had a *fondness* for each other* without Mr. Tesman knowing. This fondness has come from long before Hedda even got married to Jorgen. If I would have to flirt with Brack I would think back to that day that I tried to get the attention from the cutest guy in the class and I would apply what I did then in this situation. I wouldn’t touch him or anything like that I would rather be a little sarcastic hinting at the fact that I *like him b*ecause in the* time of the * realism movement sexuality wasn’t allowed to be performed on stage.
Before you can make the audience believe what they see on stage is real you must think about the details that effect the scene for example : the plot, time, place, why, how you feel, set , costumes, props, lighting and sound effects. This is known as the GIVEN CIRCUMSTANCES**…*In this play mostly all the action and drama takes place in the Tesmans’ villa on the west side of the town*. The room looks exactly the same except for the piano that has been taken away and replaced with a writing table. There is a smaller table as well as a sofa on the left of the room.* Bouquets of flowers are also put down to make it look more real.* Hedda is wearing her afternoon dress. This was also the movement where electricity started to be used on stage. They used *to dim lights in order to show when it was morning, afternoon or evening.* In this case it was afternoon so the lights were very bright at this time.
I feel that this book does a good job of portraying the fact that there are bullies in this world and that they aren't always the bigger people. Words can cut deeper then actions, and that in its self made George a bully. Even though George looked after Lennie, he was still very cruel to him. George felt burdened by having to take care of Lennie. Now does this excuse his behavior towards Lennie, ...
*THE IMAGINATION *of the character was very important because to be able to play the character you would have to know how she* would *act. Therefore I did research about my character.* *Hedda Gabler is a subtle study of the female psychology. She grew up in a family of luxury and high-class living. She has been exposed to this her whole life and can’t stand to live lower than high-class. Hedda is an intelligent, unpredictable and dishonest young woman who is not afraid to manipulate her friends and husband. Hedda is feisty, droll, yet fatally ignorant of the world and herself. She’s snobbish, mean-spirited, small minded, conservative, cold, bored, vicious; sexually eager but terrified of sex and having a baby that will rule her life and have power over her.
CIRCLES OF ATTENTION** is a difficult action for me to find in this play. My understanding of this technique is to have a main focus on the stage even though there are other characters busy talking and laughing, moving *around .*etc. but still having that focus on the main attraction on stage and the surrounding characters which are still there on stage but are fading away in you *concentration* and don’t *take attention off or away from *the main focus..
Each act can be broken up into scene*s* or units of objectives. This makes it easier for the character to understand when they must do a specific move or action and when they have to walk left or right. In my piece that I’m performing I have broken it up into small units enabling me to remember when I say a specific word to r*emember to do a specific action for example when myself and Brack *are *talking about the pistol that has been stolen and the police finding out who the owner of the pistol *is,* *Myself ‘Hedda’ starts getting very *nervous* of them finding out so I* *fidgets* and move* around a lot. *Hedda* *walk*s* towards the writing table to go *light herself* a cigarette* because *of the tension that, Hedda* *can’t* handle anymore giving *her* a *reason* to walk to the table to do it. This principle is called UNITS AND OBJECTIVES.
Frustration is a deep state of insecurity and dissatisfaction arising from unresolved problems or unfulfilled needs. The play Hedda Gabler deals directly with frustration. Hedda is tormented equally by her own repression and guilt as mush as by her new external restrictions. The clash between what Hedda wants and the path she is now taking in life result in hysteria. Hedda's behavior is dictated ...
The *SUPER OBJECTIVE is the main, over all objectives in the play. This is where a continuous chain of smaller objectives build towards the main objective called **THE THROUGH-LINE OF ACTION. You can clearly see this principle ha*ppening towards the end of *‘*act four.*’ *The conversation between Hedda and Brack starts to get very intense and emotional.
Brack loves* this conversation because of the fact that he has got, *Hedda* into a corner which she *can’t* get out, Brack has now got complete power over, Hedda. This she does not appreciate at all that is the first small objective. The second objective is when, Brack states “that he will not abuse the position” that he is in at the moment of having *control* over her. Brack pushes her so much by nailing and flirting *intensely* with her that it leads *up to* the main objective which the pro*ta*gonist wishes to *achieve* at the end of the play where, Hedda shoots herself in the head and commits *suicide. She makes it a beautiful death which*,* Lovborg didn’t have.
THE TEMPO RHYTHM IN MOVEMENT** is seen clearly in this scene. The fact that Hedda is so tensed up and fidgety creates a atmosphere around her of uncertainty and self pity where as the atmosphere of the surrounding characters show a totally opposite feeling of sadness and broken *hearted. These* two rhythms create a conflicting rhythm.
Tapping back into *EMOTION MEMORY: your own experiences and emotions is very easy if you have experienced a specific emotion you have to perform but if you haven’t experienced it; it is very difficult. That’s what happened with me! I haven’t really been at that stage where I just want to kill myself because of depression or things that just aren’t working out *right* so that is where I apply **THE METHOD OF PHYSICAL ACTION.* I apply this principle in order for me to understand my character better by means of improvising, making up my own moves and emotions, playing around with the plot a bit .etc. and making it lead to a performance of greater depth and solidity.
In Ibsen’s drama Hedda Gabler, Hedda was a wealthy woman with a great background, until she marries Mr. Tesman. When she is chained down to this man she starts to become unstable and reveals how truly devilish she can be. From manipulating her loved ones to down-right killing them. These incidents occur because of jealousy and boredom. Hedda’s first act of despicableness is first presented when ...
Doing this project essay has help me a lot more in actually understanding the play better it has also helped me with my character and I have learnt so much more about her now than I even knew after I did my research on her. I think working on this essay day by day also helped me write this essay to my best ability and interest! I am looking forward to learning a bit more about my character before I do my performance for my practical assessment.