An Actor Prepares - Konstantin Stanislavski

The theater works as a character because it exists as the subject of conversation for the human characters. Some people feel void in a work environment presently open to conversation but not currently utilized for that

In his book, The Presentation of Self in Everyday Life, Goffman (1959) focuses on the self as a staged production in which people actively present themselves to different audiences one encounters. To bolster his conceptualization, Goffman used an interesting metaphor of “all the world’s a stage” (1959, 254). This, he terms as a “dramaturgical approach” (Goffman 1959, 240) in which an actor puts on a show for others; drawing analogies between human behaviors and the theater. Goffman (1959) likens the individual to an actor on stage performing for and with other individuals involved in the situation. Three types of space exist for the actor to perform on, to enact the self, and to interact with others: the front stage, the backstage, the outer region. Goffman (1959) utilizes specific dramaturgical terms such as performance, teams, front and back regions, sign-vehicles, and highlights the process of dramatic realization. These terms will be discussed in the following sections.

11. Point out some moments in the play when the playwright conveys much to the audience without dialogue

In his book Frame Analysis, Goffman continued his discussion on dramaturgical analysis. He wrote, "What is important is the sense he provides them through his dealing with them of what sort

Leigh’s statement that ‘The edge of the stage is not an invisible boundary over which the actor must never step but a garden wall across which the actor gossips and flirts with the public as if they were neighbours’ seems to have captured the very essence of audience acknowledgement that is so present in the play Pseudolus. Neither cast nor script of this comedy by Plautus seems particularly bothered by any notion of the fourth wall, and the play is rife with both blatant and subtle character acknowledgement of the audience. Indeed the notion that the fourth wall is some sort of impenetrable barrier between performer and audience seems absurd when one examines the aims of theatre and performance as a whole, and Pseudolus circumvents and breaches this supposed barrier with a variety of means

The book is referred to as intent to live because most of the great actors who perform the acting seem not to be acting but living. This is depicted on how they portray their act; very real from the eyes of the audience. Larry moss has described these instances in this book on how the actors can achieve this level of acting by sharing out the techniques he has developed for over thirty years. As per Larry Moss description, the techniques highlighted can help actors in setting their imagination, emotions and behaviors on fire. These shows how hard work of preparation is helpful in performances that will yield good fruits. This

"Nowadays the plays' meaning is usually blurred by the fact that the actor plays to the audiences hearts. The figures portrayed are foisted on the audience and are falsified in the process. Contrary to present custom they ought to be presented quite coldly, classically and objectively. For they are not matter for empathy; they are there to be understood and politely added

Rule number three sticks out the most and was the most notable the few times I have attended a theater performances. Seeing and hearing the actors and actresses move around and dance their way across the stage makes it very evident that the actors are, in fact, real, living, breathing human beings, just like the people in the audience. That element is typically lost in movies and tv shows, and the audience feels dislocated from the performers. In theater, it is a much more personal experience, and there is so much more connection between the audience and the performers. In the video of Mrs. Kathleen Turner, she expressed the connection between members of the audience, but from my experience, the real connection was between the members of the

“Theatre makes us think about power and the way our society works and it does this with a clear purpose, to make a change.”

The article, “Front Row Seats: Preparing Young Audiences for Life Performances” by Rekha S. Rajan, is significant in determining audience expectations as well as understanding the preparation for live and in-school performances. Before reading this article, I was unaware what the term, “fourth wall” meant. This term is considered an invisible barrier between the performer and audience that subsists within all genres of performing arts. During a performance, musicians create the “fourth wall” by closing their eyes while playing or by standing behind a music stand. I find this term to be interesting and shocking, just as the article mentioned that audience members find this concept provocative as well.

Likewise, Miss Brill imagines herself in a different situation. "They were all on the stage. They weren't only the audience, not only looking on; they were acting. Even she had a part and came every Sunday. No doubt somebody would have noticed if she hadn't been there; she was part of the performance after all" (740). In this story, the woman finds herself acting as if she is part of a play. She notes the

Stanislavsky wrote three novels that discuss his acting method; An Actor Prepares, Building a Character, and Creating a Role. These books are from the perspective of a

talks of actors on the stage and says ‘Had he the motive and the cue

In acting or with guided imagery, transference in part, is communication between entities. Hagen (1991) emphasized the importance of imagination and application of transferences with the character. An actor increases their ability to be open to other actors because of a sensitivity of transference; creating a meaning in a story. An actor’s training can expose him or her to multiple realities which may enable one to gain greater awareness while in a guided imagery experience.

Ever since I took drama classes in high school I felt that we always put on an act. A show almost, that we put out for the people we interact with daily. Erving Goffman, “Canadian-American Sociologist” (Encyclopedia In., 2017) also believed this, he compared social interactions to the theater, where individuals take a particular role. According to Goffman this “theatrical metaphor consists of a stage, actors, and an audience” (Crossman, 2014). It also consists of the onstage, backstage and offstage. These three stages show different behavior on a person.