Stanislavski mark schemes

MARK SCHEMES FOR INDIVIDUAL QUESTIONS, UNIT 3, SECTION A

January 2001

Question 1 As an actor using Stanislavski’s system, how would you use his ideas on “imagination”, “units and objectives” and “emotion memory” in the preparation of a role?

Candidates’ answers will vary according to how they feel they would use the specified aspects of Stanislavski’s system. However, in relation to the Assessment Criteria below, expect answers to include references to some of the following aspects:

Imagination
• the importance of the imagination as part of the system
• magic if
• the inner chain of circumstances
• creating the whole picture
• fixing the who, what, why, where, when
• exercises to develop the imagination
• the role played by the imagination in the concept of emotion memory
• Stanislavski’s later concerns about emotion memory

Units and Objectives
• identifying the channel or creative line
• defining the creative objectives – inner, outer and rudimentary psychological
• naming the unit
• using given circumstances
• the super objective
• the through line of action

Emotion memory
• the influence of Ribot
• sensation memory
• unlocking the archives of the memory
• using inner and outer stimuli to lure the emotion memory
• the transformation from human sympathy to the feelings of the character
• finding analogous experiences
• re-living the emotion on stage
• the region of the sub-conscious

Candidates should illustrate their answers with relevant suggestions for the potential use of these elements of the system in the preparation process.

June 2001

Candidates' answers will vary according to how they feel they would use the specified aspects of Stanislavski's system. However, in relation to the assessment criteria below, expect answers to include references to some of the following aspects:

Relaxation

isolating the muscles
freeing and balancing the muscles
centre of gravity
serving an inner purpose
allowing purpose to drive movement
precision, clarity and plasticity of movement

Concentration of Attention

fourth wall
circles of attention
public solitude
objects of attention
observation
inner attention

Tempo-Rhythm

yoga and eurythmics
outer rhythm
inner rhythm
tempo-rhythm in movement
tempo-rhythm in speech

Candidates should illustrate their answers with relevant suggestions for the potential use of these elements of the system in the rehearsal process.

January 2002

Question 1

As an actor using Stanislavski’s system, how would you use his ideas on “the method of physical action” as part of the rehearsal process?

Candidates’ answers will vary according to how they feel they would use this aspect of Stanislavski’s system. However, in relation to the Assessment Criteria below, expect answers to include references to some of the following aspects:

The Method of Physical Action

• improvisation
• given circumstances
• limitations of the psycho-technique
• emotion as action
• analysis through action
• gesture
• facial expression
• silence
• text/sub-text
• rhythm
• stimulating the imagination through action
• episodes
• tasks and super task

Candidates should illustrate their answers with relevant suggestions for the potential use of this element of the system in the rehearsal process.

June 2002

Question 1

As an actor, how would you use Stanislavski’s ideas on “given circumstances” and “the magic if” when preparing a role for performance?

Given Circumstances
• facts – plot, event, character details
• social level – epoch, time, place, conditions
• literary level – interpretation of character and issues
• aesthetic level – set, costume, lighting, sound, mise-en-scène
• research – the development of given circumstances Magic If
• link with given circumstances
• arousing inner activity, link with self
• inner justification
• psychological goals
• sincerity of emotions
• inner state
• inner logic
• imagination
• improvisation
• inner stimulus
• inspiration
• subconscious

Candidates should illustrate their answers with relevant suggestions for the potential use of these elements of the system as part of the preparation process.

January 2003

Question 1 Stanislavski sought to create a “Sense of Truth” in his productions. Explain what he meant by the term and how he attempted to create this truth through rehearsal.

Candidates’ answers will vary according to how they feel Stanislavski attempted to create a “Sense of Truth”. However, in relation to the Assessment Criteria below, expect answers to include references to some of the following aspects:
• sincerity
• Imagination
• Given circumstances
• the inner feeling of the actor
• a sense of Faith
• Belief
• analogous emotions
• self-study
• sensitivity
• realistic physical detail
• justified physical action
• coherence
• logical sequence
• Creation of the human soul in the part
• Improvisation
• avoidance of cliché
• Units and Objectives
• Magic If
• Concentration of Attention
• tempo-rhythm

Candidates should illustrate their answers with relevant examples of the ways in which Stanislavski sought to create a “Sense of Truth” through rehearsal.

June 2003

Question 1

Explain what Stanislavski meant by ‘The Super-Objective’ and ‘The Through Line of Action’ and suggest how a director might use them as part of the rehearsal process.

Candidates’ answers will vary according to how they consider that a director would use the specified aspects of Stanislavski’s system. While candidates may not give equal attention to ‘The SuperObjective’ and ‘The Through Line of Action’, they must refer to both aspects of the system.

In relation to the Assessment Criteria below, expect answers to include references to some of the following aspects:
The Super-Objective

• the ruling idea of a play
• the significance of the play as a whole
• the reason for the performance
• the core of the play
• the main artery
• the theme of the play
• each character’s main objective

The Through Line of Action
• units and enacted objectives
• the coherence of the role
• the moments between scenes
• emotion memory
• activating the subconscious
• reconstructing the experience
• identifying with the character

Candidates should illustrate their answers with relevant suggestions for the potential use of these elements of the system as part of the rehearsal process. Credit should be given for recognition of the interrelationship of elements of the system