1. Relating to Things: Internal Stimuli Advanced Drama Fall 2003

2. Stanislavski’s internal stimuli An actor’s inner resources consist of his memory of what he has done, seen, read, and felt. An actor’s inner resources consist of his memory of what he has done, seen, read, and felt. How he puts his past experience to work is what Stanislavski called affective memory How he puts his past experience to work is what Stanislavski called affective memory –This was later divided into two parts: »Sense memory »Emotional memory

3. Using affective memory Designed to produce controlled emotional reactions used to color a performance. Designed to produce controlled emotional reactions used to color a performance. The actor must first concentrate on relating to external objects and then focus on performing the action, not on feeling the emotion. The actor must first concentrate on relating to external objects and then focus on performing the action, not on feeling the emotion.

4. Relating to past experiences If the actor performs logical actions, believes in the given circumstances, tries to accomplish commanding intentions, and establishes specific relationships with props, costumes, scenery and other actors, past experiences will likely be available without any thought. If the actor performs logical actions, believes in the given circumstances, tries to accomplish commanding intentions, and establishes specific relationships with props, costumes, scenery and other actors, past experiences will likely be available without any thought. If the techniques above to not elicit the desired response, the actor may need to bring his past experience directly to bear on the situation. If the techniques above to not elicit the desired response, the actor may need to bring his past experience directly to bear on the situation.

5. Physical action memory Focus on recalling the sensory experiences of the situation and remember what you did—it is the action that is important. Focus on recalling the sensory experiences of the situation and remember what you did—it is the action that is important. The original experience Retaining the experience Selecting an experience that relates to the problem Recalling the sensory and physical details Using the experience within the given circumstances

6. The original experience May have occurred months, even years, before you recall it and put it to practical use. May have occurred months, even years, before you recall it and put it to practical use. Events that occurred some time ago are better because you will be able to use them more objectively. Events that occurred some time ago are better because you will be able to use them more objectively. Childhood incidents remain in the mind with particular vividness and are often valuable. Childhood incidents remain in the mind with particular vividness and are often valuable. Any experience you use must be one you have felt deeply. Any experience you use must be one you have felt deeply.

7. Retaining the experience Partly a matter of natural memory and partly of a matter of conscious effort. Partly a matter of natural memory and partly of a matter of conscious effort. Try to realize particularly strong emotional reactions as you are feeling them (sorrow, joy, despair, frustration, etc) so that you may recall them and tap into them later on stage. Try to realize particularly strong emotional reactions as you are feeling them (sorrow, joy, despair, frustration, etc) so that you may recall them and tap into them later on stage.

8. Selecting the experience The actor should search his part for happenings most nearly parallel to those of the character he is playing. The actor should search his part for happenings most nearly parallel to those of the character he is playing. They may be identical or they may be far removed—you must often resort to situations where your feelings were similar to those of the character, although the circumstances that prompted the feelings may have been entirely different. They may be identical or they may be far removed—you must often resort to situations where your feelings were similar to those of the character, although the circumstances that prompted the feelings may have been entirely different. Using experiences different from the given circumstances is called substitution. Using experiences different from the given circumstances is called substitution.

9. Recalling the details Concentrate on remembering the details of the experience rather than on the emotion itself. Concentrate on remembering the details of the experience rather than on the emotion itself. Begin by using sensory recall—sights, sounds, smells, tastes, and things you touched Begin by using sensory recall—sights, sounds, smells, tastes, and things you touched

10. How to use recall effectively Develop a short cut to the heart of the memory. Develop a short cut to the heart of the memory. –Break the memory down into its individual components. –Recreate the sensation of the moment by concentrating on the aspect that provides you with the most vivid connection to the situations—a particular sound, odor or change in body temperature. When you can place this sound, odor, or change in body temperature in the scene, your use of emotional memory is complete. When you can place this sound, odor, or change in body temperature in the scene, your use of emotional memory is complete.

11. Using the experience in the given circumstances of the play Make certain that anything you use from your remembered experience is believable within the scene and your character. Make certain that anything you use from your remembered experience is believable within the scene and your character. Guard against reducing moments conceived by the imagination. Guard against reducing moments conceived by the imagination. –One of the strongest tendencies of student actors is to play everything too small. –Drama, for the most part, is larger than life.

12. Using physical action memory Remember the moments in your life when you most strongly felt some emotion such as anger, hate, love, or fear. Remember the moments in your life when you most strongly felt some emotion such as anger, hate, love, or fear. Reconstruct in your mind the detailed circumstances that caused you to experience this emotion. Reconstruct in your mind the detailed circumstances that caused you to experience this emotion. Perform an activity related to these circumstances until you can sense the emotion associating itself with the activity.