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An actor might approach a script using Stanislavski’s techniques, breaking a script down into objectives. Look at this clip which is taken from the Five Truths installation that focuses on a Stanislavskian approach to the character of Ophelia in Shakespeare’s Hamlet. The Five Truths installation was commissioned by the V& A in partnership with the National Theatre and explored the same scene performed through the different lens of five theatre practitioners. Can you work out what’s ‘Stanislavskian’ about the performance? (subtitles are available)

Circles of attention

Stanislavski believed that an actor needed a sense of isolation in order to produce a characterisation and avoid unnecessary tension. They needed to concentrate on themselves. This is the first circle of attention. Stanislavski referred to it as Solitude in Public. Beyond this, the actor might, in the 'second circle', be aware of the character he is addressing and in the 'third circle', the rest of the production. There's no direct awareness of the audience in this. These circles of attention are achieved through focus and concentration.

Tempo and rhythm

Stanislavski felt that an inner and an outer tempo and rhythm were vital if you were to enact movements truthfully and link them to the expression of emotions and feelings. He linked tempo to the speed of an action or feeling and the rhythm to the intensity or depth of the experience.

Physical action

If a musician plays a musical instrument, they ensure before they start that the instrument is in tune so that they play the right notes and can do justice to the composer’s work. Stanislavski felt that an actor should regard their body in the same light. It should be trained or tuned so the actor can call on it to perform effectively. Stanislavski didn’t want to accept that an actor couldn't measure up to the physical demands of a role. The demands of a role may not just be athletic, but may have to do with vocal power or intensity of emotion.

Improvisation

Improvisation is a crucial part of the rehearsal process and Stanislavski wanted the actor to reach far into themselves in creating the role.

If all the actors in a production took their emotions into the inner circle of attention, it’s easy to see that a production could lose cohesion. It’s the director’s job to keep that cohesion, at the same time as drawing out as much truth in performance as possible from each performer.