As an actress, I found essential the following three tools from the Stanislavsky Toolkit. - The magic If Our acting style follows the Stanislavsky toolkit. We wanted to achieve the psycho-physicality, which will allow you to ”experience internally is immediately translated into outer expression, and (conversely) what your body manifests physically has a direct and acknowledged effect on your psychological landscape” (Merlin, n.d., pg. 18). In my role of an actress, I applied the Stanislavsky tool of The Magic “If” (Merlin, n.d., pg. 127). “The magic if the springboard from your imagination into the given Circumstances of the script, and in effect it works by appearing to your sense of action: What would I do if…?” (Merlin, n.d., pg. 127) this tool combines the action with the psychology. With this tool my aim was not to re-enact the actual experiences, I was looking for the stimulants to my imagination which will fill the gap between me and the actions of the script. - Receptivity and listening: I need to listen to two different parts; you need to listen to yourself (what you are feeling) and you also need to listen to your environment (fellow actors in the scene). For you to be able to listen to both and be able to successfully apply it to the scene, you need to be ins a “particular state of receptivity”(Merlin, n.d., pg. 19) this helped me to embody the character and perform the scene feeling more natural and less acted. - The merger: To embody the character, I did the exercise where I look for the lure of it, after that, I converted the “lure” into an objective (Merlin, n.d., pg. 40). This objective was present in the characters development throughout the entire performance.
Bibliography
Merlin, B., n.d. The Complete Stanislavsky Toolkit. pg. 19, 40, 127.