"The Monologue" (dun, dun, dun)

Many of you have been wondering the purpose of the first assignment and the specifics of expectation. Before we get to that, let me introduce you to the man of the year (of our training year anyway): Constantin Stanislavski or "Stan" as I like to call him.

As a young actor in Russia, this guy was completely frustrated at the lack of consistency in theater. He hated that actors were limited to one of three things: 1.) mimicing others in an exaggerated attempt to entertain the audience, or 2.) simply waiting around for what he called "heavenly gifts" of creative inspiration, or 3.) playing the role of slave puppet for the director and having no creative input whatsoever. So he sought to develop a system that would consistently produce the conditions for inspiration to appear and authenticity to occur. This is the system we will be studying. So, why begin with monologue about our lives? Let Stan tell you . . .

From "My Life in Art"

"For years, I copied naivete, but I was not naive; I moved my feet quickly but I did not perceive any inner hurry that might cause short quick steps. I had played more or less artfully, copying the outer appearances of experiencing my part and of inner action. From performance to performance I had merely made a mechanical habit of going through all these technical gymnastics, and muscular memory, which is so strong among actors, and had powerfully fixed my bad theatrical habit . . . What was I to do? How was I to save my roles from bad rebirths, from spiritual pertification, from the autocracy of evil habit and lack of truth? . . . There was nothing that I left undone in order to solve the mystery. I watched myself closely, I looked into my soul, so to say, on stage and off . . . I realized that the more an actor wishes to amuse his audience, the more the audience will sit in comfort waiting to be amused, and not even try to play its part in the play on the stage before it. But as soon as the actor stops being concerned with his audience, the latter begins to watch the actor . . . The actor must first of all believe in everything that takes place on the stage, and most of all he must believe in what he himself is doing."

So, to make his pretensious Russian verbage a bit simpler: Rather than focus on "looking angry" and on what the audience might be seeing, you ask yourself, what would I do in this situation and begin with the truth of who you are. Thus, the monologue as our starting point. . .

Sanford Meisner (a great American teacher of the system-we'll be studying his techniques, too) said "Acting is living truthfully in imaginary circumstances." So where better to begin acting truthfully than in the truth of our own lives? Plus, we get some bonus community building by getting to know eachother a little better! I can't wait to hear all the great stories of truth, especially in a group who has chosen to follow Christ as the way, the truth, and the life. See ya Monday in the Heir Force room at 7pm! Don't forget to smile pretty for your headshot! : )

Question#1: On the spectrum of Stan's ideas (10) and focusing on what the audience sees (1), where does your focus tend to go when you perform?

Question #2: Any concerns or questions about the assignment?