Introduction
Within my first semester, I underwent Actor and Text classes with my knowledgeable lecturers Claire Eden and Tyrrell Jones. Within these lessons, we were able to explore a variety of different texts and apply a volume of performance techniques to then better our understanding of analysis and execution when looking at performance material. Through this portfolio, I will explore my experiences with some of the different techniques I have learnt and how I found working with them from a performers perspective.
Objectives and Super-Objectives
One of the first techniques we explored with Tyrrell was the use of Stanislavski’s objectives and super-objectives while looking at the play The Bear by Anton Chekhov. An objective is something a character wants in a scene, one scene alone can hold different objectives in it as circumstances change. An objective change is down to the objective being either “carried out or compromised or aborted” (EclectEcon, 2024) , the efforts of the character trying to achieve their objective is what makes a scene entertaining, especially when two characters have disputing objectives. The super-objective is the overall goal of a character for the whole play. A characters super-objective drives the different objectives throughout the play in an attempt to achieve their overall goal. This comes from Stanislavski’s idea that “the character will always want to achieve something by the end of the play” (Blackwater, 2013).
Understanding the want of a character can help performers find the drive behind the character and their actions. In order to understand this technique, we analysed Chekhov’s one act play The Bear and broke it down to discover the different objectives within. As it was a short play, it was easier for us to discover the super-objective of each of the three different characters. In order to discover the different objectives of a character, we broke down the play into key events to see where the objectives were altered for a character. We then went through and stated what we thought was a characters objectives (as seen in Image 1).
I found Stanislavski’s method a very helpful tool as I hadn’t gone through a text/ script before and set out the clear wants of a character. When we performed the scenes with the decided objectives in mind, I found that my performance of Smirnov was clearer and better showed the conflict in the scene as the objectives of the other character Popova clearly opposed mine. It also helped me find more purpose with my movements and speech rather than just going off of my own instinct. One thing that I struggled with about this exercise was sitting comfortably with the idea you might not know all of the objectives and super-objective from the beginning. Although this hindered me at first, this concept made me realise I had more opportunities to explore different performances of the characters lines/ actions in order to find my interpretation of the objective, this proved a hard but rewarding challenge.
After exploring this technique, I found it a vital addition to my performance methods not only in Actor and Text but also other classes such as Acting Through Song (ATS) and Improvisation. When using this technique in ATS, I applied it to one of my songs I Hate Men. This helped me define what my characters aims were through the song, allowing me to block out how I would perform it.
Line Repetition
A technique that we explored with Claire was the use of Line Repetition. This technique involves repeating one of your characters lines to another actor in character with different emphasis and intention behind it. The point of this exercise allows you, as the actor, to explore different path ways with the one line creating a different affect each change of use. We discovered that you are able to pick any one of your lines and still have endless opportunities for affect. While working with a partner doing the same technique, you are also able to bounce off of each other allowing your line to be altered depending on how they deliver theirs. I employed this tool when working with my partner Eve Rasdell when engaging on the scene Fired from the play Love and Information by Caryl Churchill. I chose my line “you’re a coward you can’t say it” and found a variety of deliveries that I mind-mapped (as seen in image 2). The three favourites I had (highlighted on image 3), I further played with till reaching my finally delivery using a relieved and free expression to convey the characters aim and emotion.
I found this a more natural technique than the previous Objectives exercise. As I was working of my own instinct with trial and error line delivery, I had a lot of fun with this and discovered a variety of deliveries I might not have done without the technique. I found this method works very well alongside objectives, enabling you to have an idea of the aim of the character but ability to play around with how the effect is created. A negative that I found when working with this technique is that sometimes you lack the time to try this with all of your lines and could get monotonous if overused.
When taking this technique outside of Actor and Text classes, I have also used a variation of this with ATS. With the song I Hate Men again, I applied the same trial and error method when deciding how to sing certain lines that would affect the message and emotion behind the lines, like using a falsetto register to come across as sarcastic.
Tactics and Beats
Another two techniques of Stanislavski’s we studied were Beats and Tactics. These two methods fall hand in hand when breaking down a text. Beats are used to mark moments throughout where the tone of a scene has shifted, often altering your character. Beats can be caused by the emotional movement of a scene as well as physical, such as a character entering the space or leaving. Beats are helpful in breaking down a text as “action during a scene is always changing”(heatherantonia, 2012) and it allows us to mark the key moments for character changes. Tactics are the result of a beat in a text. Once a beat has occurred, the way a character tries to achieve their objective may be changed. Tactics are different approaches a character tries in order to gain their objective, often out of other characters. When looking at The Bear by Anton Chekhov again under my role as Smirnov, I tried different tactics against the character Popova in an attempt to achieve my objective of getting the money back (as seen in image 3 and 4).
I found this Stanislavski method extremely helpful. I felt this added a lot more depth and interest in my personal performance as well as the scene as a whole when performing it with my partner Victoria Palmer. I was told by other class members that it added more action into the scene as it was a less back and forth performance but rather a continues reaction from each of us to what the other was saying. I found that I was engaging more to Victoria’s action and behaviour rather than waiting to say the next line. When I started allowing her to alter me with Beats in the scene, I was thinking more on my feet about the different tactics I could use to see if I was able to alter her character and achieve my objective. I discovered that your tactics might also change from the ones that you planned as your partners performance might require the use of different tactics to create more unity in the scene. Although this was a very useful technique, I sometimes found it hard to quickly change tactic to continue the flow of the scene if a tactic I tried didn’t work for long. But, I think this is a good exercise to work on to better my improvisation even when in a set scene.
After studying this in Actor and text, I found this a good technique I could also apply in my Improvisation classes. in one of my improv lessons, our objective was to get our partner off of the chair and I applied the methods of tactics. It was very useful quickly testing out different methods and coming up with different solutions to the situation, I felt this further strengthened my ability and problem solving when it came to performing.
Given Circumstances
One of Stanislavski’s other technique we studies was given circumstances. He believed that “Immersing oneself in these “given circumstances” creates a foundation for a rich and believable character portrayal” (Lemon, n.d.). Given circumstances are a list of question that you can ask yourself about a character from a text to pin point key characteristics about a character that give more knowledge for an actor when looking at a scene. Stan often broke those questions down into who, when, where, why, for what reason and how (StageMilk Team, 2020) allowing for general knowledge about the character. I applied this exercise while using the scene Secrete from the play Love and Information by Caryl Churchill. This play was helpful to use as all the scenes are written without character names or information with random and different scenarios for each scene within the play. Due to the lack of information given about the character and context, it allowed us to create our own interpretation of the scene with our own characters. With my partner Eve Rasdell, we created two characters and their backstory with Stans methods in mind (as seen in image 5).
I had so so much fun with this exercise! I found this a really engaging and creative experience that allowed us to create our own interpretation of the scene. Creating some backstory and relationship between the characters allowed me to connect more with the character and add more depth to the performance than I would have done without it. Even if the audience never knows all of the contextual details, I felt that it carried through to better my performance and added more meaning for myself as a performer. I felt like I understood the actions of my character in the scene after creating the drive and personality behind it. Also, I felt that my reactions were more convincing after we came up with the secret that the scene was based around allowing us to know and the audience to guess.
I found this a helpful exercise and used it in further Actor and Text lessons with a variety of other material.
Conclusion
Overall, I have thoroughly enjoyed my Actor and Text classes and engaging with different techniques and methods. I have found a variety of helpfulness and success with all of the exercises I have done and am pleased to say I have taken away some great techniques that I have and will apply with my wider classes and future texts. Before undertaking this class, I didn’t fully appreciate the importance of text break down methods and performance rehearsal play and the impact it has on my performance. I now feel confident of what to do when approaching a new piece of material to get the most out of my performance.
Bibliography
(EclectEcon, 2024)
EclectEcon (2024). Theatre Brief 06: Objectives and Super-Objectives. [online] EclectEcon. Available at: https://www.eclectecon.net/2013/07/theatre-briefs-06-objectives-and-super-objectives.html [Accessed 30 Dec. 2024].
(Blackwater, 2013)
Blackwater, J. (2013). Actions, Objectives and Super-Objectives – The Maydays. [online] The Maydays. Available at: https://www.themaydays.co.uk/actions-objectives-and-super-objectives/.
(heatherantonia, 2012)
heatherantonia (2012). Units and objectives. [online] Stanislavski system. Available at: https://heatheractingwork.wordpress.com/2012/12/20/units-and-objectives/.
(Lemon, n.d.)
Lemon, D. (n.d.). Constantine Stanislavski – The Method, A Revolution in Acting Craft. [online] The Actors Forge. Available at: https://www.theactorsforge.com/resources/constantine-stanislavski-the-method-a-revolution-in-acting-craft.
(StageMilk Team, 2020)
StageMilk Team (2020). The Stanislavski Method | Acting Methodologies. [online] StageMilk. Available at: https://www.stagemilk.com/the-stanislavski-method/.
