Post by MenelaosGkikas on Apr 13, 2022 12:21:35 GMT
Republished from my Facebook Page, Maker's Dust, February 22 2022
Hello writers and friends! Is there something intriguing to the title of this post? I bet you say so! It begins from the analysis of The Stanislavski System for the professional training of actors. When actors act or rehearse, they have to create believable scenic experiences. Their first working frame has been set by us, writers… Good scripts matter the most for actors so that they will be able to perform it and find their personal connection with the material. Due to this there have been developed tools in acting that can affect both pure literature and screenwriting. They affect us in terms of our work’s dynamic and potentiality. By the way actors are being trained on The Stanislavski System in drama schools, writers can find the material interesting if they’d like to dress a little bit of cinematic culture. As Stanislavski begins to teach the method of body actions, his first building block on its elements is the ‘magical if’. What would I do ‘If’ I were King Arthur? What impact I would get ‘If’ I could get the Excalibur out of the stone? (Excalibur is the sword of Arthur…!) What ‘If’ I were a politician, entrepreneur or diplomat? Writers and actors that will open up to the world will often meet characters and role models different from what they studied and closer to their ambitions. Using such ‘Ifs’ all over the human capital you can realize what actors and writers need to succeed. In most cases, the art of simulating the exact conditions and situations of being King Arthur is not necessary. Actors and writers just have to believe on ‘the probability’ of being that character.
Nevertheless, life and experiences mean we create repertories. No one, writer, creator or individual has the power to declare “I Am” in all cases… Always saying “I Am” is a psychology lesson as well, in terms of the negative experiences of personalization. We’re limited in other words… What does the magical if means for writers and actors? Of course, you don’t need to get royalty experience. Stanislavski states that it means that: A.) You can create problems B.) Find solutions C.) Use Improvisation D.) Use your fantasy E.) Develop logical actions F.) Stimulate your emotional memory, so that by all the previous you can approximate reality! And what does that mean for the script and theater analytically? The fact that writers use the above canons to come up with structural changes in their work that means creating opportunities and decision making with scene headings. Scenes that indicate independent spacetimes that will be used as the building blocks of their creative problem-solving methods in art. Writers have to develop a believable story arc and actors use that system to drive behavior and physical actions… In most of the cases, experience to be able to speak with confidence is the sole requirement to be able to open up and can be quested through the fantasy of those that can study the human condition in terms of figuring out patterns... In most of the cases, such experiences including the rest of my articles can work as a pilot study! Have a great time folks!
Hello writers and friends! Is there something intriguing to the title of this post? I bet you say so! It begins from the analysis of The Stanislavski System for the professional training of actors. When actors act or rehearse, they have to create believable scenic experiences. Their first working frame has been set by us, writers… Good scripts matter the most for actors so that they will be able to perform it and find their personal connection with the material. Due to this there have been developed tools in acting that can affect both pure literature and screenwriting. They affect us in terms of our work’s dynamic and potentiality. By the way actors are being trained on The Stanislavski System in drama schools, writers can find the material interesting if they’d like to dress a little bit of cinematic culture. As Stanislavski begins to teach the method of body actions, his first building block on its elements is the ‘magical if’. What would I do ‘If’ I were King Arthur? What impact I would get ‘If’ I could get the Excalibur out of the stone? (Excalibur is the sword of Arthur…!) What ‘If’ I were a politician, entrepreneur or diplomat? Writers and actors that will open up to the world will often meet characters and role models different from what they studied and closer to their ambitions. Using such ‘Ifs’ all over the human capital you can realize what actors and writers need to succeed. In most cases, the art of simulating the exact conditions and situations of being King Arthur is not necessary. Actors and writers just have to believe on ‘the probability’ of being that character.
Nevertheless, life and experiences mean we create repertories. No one, writer, creator or individual has the power to declare “I Am” in all cases… Always saying “I Am” is a psychology lesson as well, in terms of the negative experiences of personalization. We’re limited in other words… What does the magical if means for writers and actors? Of course, you don’t need to get royalty experience. Stanislavski states that it means that: A.) You can create problems B.) Find solutions C.) Use Improvisation D.) Use your fantasy E.) Develop logical actions F.) Stimulate your emotional memory, so that by all the previous you can approximate reality! And what does that mean for the script and theater analytically? The fact that writers use the above canons to come up with structural changes in their work that means creating opportunities and decision making with scene headings. Scenes that indicate independent spacetimes that will be used as the building blocks of their creative problem-solving methods in art. Writers have to develop a believable story arc and actors use that system to drive behavior and physical actions… In most of the cases, experience to be able to speak with confidence is the sole requirement to be able to open up and can be quested through the fantasy of those that can study the human condition in terms of figuring out patterns... In most of the cases, such experiences including the rest of my articles can work as a pilot study! Have a great time folks!