STANISLAVSK'S METHOD ACTING-PART 6-(a)

It's been quite a long journey when it comes to Method Acting, but today I am going to talk something which every participant or a beginner, faces while nurturing acting skills. Today I'll be going offtrack and speak to you directly, which every individual faces. It is the ACTOR'S PROBLEM. Yes today it's gonna be very direct but straight forward  talk when it comes to dealing situations that actor's face and something that hinder's their talent! Many of the problem or obstacles faced at related to the preparation process or actually getting the ideology of achieving it.

So many actors may go around being unaware of the problem, and finishing up there work, rest might feel stymied and think they are defeated. An actor should consider one thing in his practice that, as an actor what we project on stage/screen is co-related to what's going in actual life, Your Personal Life! If there's quite a balance to your personal and professional life, one might actually attain to establish a better track of it. But if not it might affect an Actor. At times actors visit psychiatrist so as to know them personally or rather let me say that exculpation of there problems. So the people who are able to attain psychologist and resolve there inner self are in a different state of mind and to all those who have to retaliate at there own terms develop a state of mindset that will be way to stronger in terms of experiences and mind games. To the one who has freudian psychology has gained prerequisite knowledge, is still not so better, if he does not not how to balance between actor's problem and personal life queries. 

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 So as an actor one should have a track of there Sensibilities, Emotions and Physical Abilities etc. When it comes to psychology of the actors, one should know themselves first and another person shouldn't consult them! Well today we are going to cover problems that are related to first readings, rehearsals, performances, problems encountered in every day life, problems in Voice or Movements.

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Firstly, Analyse a writer's journey as to if he is a poet, a non-classical writer, a contemporary writer, what mindset he hold's, what exactly his journey and perception towards life has been though! You got to dwell entirely on towards his life, so as to get a clear picture of the character, traits of it and the journey involved in it. One should rather not depend on fellow actors or mates to retrieve the complete character instincts. One may intellectualize only to a certain way, as to develop layers for a character which is completely alright and a part of METHOD ACTING, but when it comes to a bigger picture in creating novelty to a role, he/she might get hindered with the same certain set of protocols.

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So when it comes to method actors, apart from using the same set of skillset one should actually work on the natural set of flow, rather than making it look more caricaturish, one should make it look natural and subtle. However, when actually intellectualizing a lot, one can actually hinder his abilities to create something new for a character. This usually occurs when one is trying to inculcate all the required attributes of a character, and cannot actually deal with the oneself, and flow of natural emotions might get deviated or even lost. So one should know 1 to 2 aspects of the real characters and then to conceive the character, this problem occurs when the complexities involved in establishing a character is immense. 

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It is important sometimes to be more organic rather than just knowing the complete details of the another person, in order to make it more innovative an unique. One can add dimensions to the character to make it function properly and being alive at all instances. 

Also try learning the genre in which you'll be performing the play, try to learn the conflicts that are being involved in the play. The easiness of it, the core of the genre and so the play. People tend to work superficially and are only contented with the fact that they are performing in a play, but are least concerned with the role and attributes associated with it. People tend to judge the character through the duration of the character in a play, they think that less duration character will create less impact and more duration character have a larger scope across the play!

                                                 

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Logical conclusion to this difference would be an actor needs to read the lines and attempt it simply and naturally, staying in touch with the reality and not making things aloof, not making it at a high degree of exaggeration! Actors or artist tend to adopt things that are under safe circle and do not try to hardwork or make the most out of it. Indicating is a term which is used for exaggerated form or rather let me quote, overacting. Acting is achieving reality on stage, and one must do it effortlessly.

Indicating includes conventional gestures, conventional vocal expressions or any emphasis of either of the two! When an actor has involved himself in acting and has completely solved all the problems associated with the character, he is actually living the life! He should be in character to the proportion of his instruments that he holds which means his own body. The actor who relies on his own nature's subsidizing and on individuality can be brilliantly termed as Creative Actor.

                                   

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The most profitable end an actor can receive, from an absolutely unidentified play, is to actually realize all moments of true inspiration in a play, and also be aware of the other factors which are false and are not a part of it. Try to make character graphs or notes to get a clear view of the journey being emphasized by the writer to character. 

Also there's a problem, when an actor does mechanical acting or rather let me term imitating the same in every show or play that he is a part of!  Repetition taking place, is a serious problem, because of dearth of thought process. Something, people don't really cope with it and make it stereotypical in it's own way. These habits connected with actor's natural way brings bewilderment in the performance and it's natural tendency to think or perform creatively is now shorten. 

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Imitation can be vaguely divided into 3 types:- Imitation can be something which is surreal, can be purely an outcome of an Actor's Fantasization, or complete portrayal of the person who the actor thinks that he is the actual person and should be imitated exactly!, or portraying actions, personal behavior of another person to build up the character. An actor usually impersonifies his performance to someone who or something that people have seen it, and is prevailing actually in society! and he subdues novelty in the character to which he is actually capable in pulling it of..

Well a lot needs to be said and done, this blog post is part (A) of an actor's actual problems, I am going to discuss this topic more, for more insights please do checkout my next blog part(B) on actor's problem.

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