The cognitive Stanislavski in the rehearsal hall

Abstract

AbstactAlmost a century after he last wrote about the practices and ideas he developed in the rehearsal hall, Stanislavski’s impact is keenly felt in classrooms and productions. Is it even possible to identify key Stanislavski concepts that may be useful for contemporary actors? Jean Benedetti’s translation of Stanislavski’s theories and practices, An Actor’s Work, draws together many of his disparate writings. This large tome, however, covers a great deal of material and what sometimes seems to be contradictory advice. So how does an actor, director or teacher decide what is relevant to use? One method may be to apply current understandings of the way human brains work to Stanislavski’s writings to see if cognitive science may be able to shed a light on his work, and at the same time point out especially useful concepts and techniques for an actor. Inspired by Rhonda Blair’s and Rick Kemp’s work in acting and cognitive neuroscience, I recently concentrated on three of Stanislavsky’s important concepts – Embodiment, Imagination and the rarely studied concept of “The Will” -- in the rehearsal of a production of Emily Mann’s post-modern play, Mrs. Packard. My paper highlights various ways in which these focused Stanislavskian principles of Embodiment, Imagination and The Will can be very effective in the rehearsal hall, and can also serve as a streamlined and practical guide for the actor.