1. SUMMARIZE: When I first read my monologue, I knew my character was an egotistical girl, but before I finalized a character, I reread it several times. After some imagination, I came up with the idea that the girl wanted to ask her Theatre teacher to give her some more roles/auditions to get more experience. I pretended to be a shy girl to ask her teacher; another time, I pretended to be a girl asking just because she was forced to. The last time I pretended to be an egotistical, proud girl (like my original idea). I felt like the lines suited the egotistical girl better after choosing my character’s personality. After answering Stanislavski’s questions, I realized I built my character with more details, which helped me act it out better. For example, when I responded to the question “Where is your character” it made me less awkward while performing on stage because I knew where I was and who I was talking to.
2. EVALUATE: After watching my video, I was glad that I got my point across to the audience; I was a self-centred character. I could tell by the way I carried myself and the way I talked. I was talking very loud, which made me watching feel inferior! Something I could work on would be taking more pauses and beats. I felt like I rushed through my monologue while watching.
3. CONNECT: This technique has been very effective and helpful to me during this journey because it helped me think about my character deeper. Thinking about my character deeper enabled me to act more realistically. From now on, I will always use the Stanislavski method to help me get to know my characters better.
4. SYNTHESIZE: I used to think that acting was just to say your lines in realistic ways but I never thought of HOW to make it realistic. Now I know that we have to think deeply about our character, background, age and personality to make our acting realistic.

Rhea’s Performance 

Who is Constantine Stanislavski?

• Born in Moscow, Russia in 1863 (died:1938)
• Began as an actor and moved on to become a director and teacher
• Parents didn’t indulge in his passion for theatre, so he changed his name
• Developed a new system of actor training and development – a new way to approach theatre
• It took years of experimenting to get to what is now known as the Stanislavski system

5 elements of actor preparation:

Relaxation
Learning to relax the muscles and eliminate physical tension while performing

Concentration
Learning to think like an actor and to respond to one’s own imagination

Observation
Discovering the sensory base of work: learning to memorise and recall sensations, often called “sense memory” and/or “affective memory”; learning to work from a small sensation and expand it, a technique Stanislavski called “spheres of attention”

Communication
developing the ability to interact with other performers spontaneously, and with an audience, without violating the world of the play

Imagination
The more fertile the actor’s imagination, the more interesting would be the choices made in terms of objectives, physical action, and creating given circumstances around the character
there’s no such thing as ‘actually’ on the stage. Art is a product of imagination, as the work of a dramatist should be. the aim of the actor should be to use his/her technique to turn the play into a theatrical reality. in this process, the imagination plays by for the greater part.