STANISLAVSKI | The Method of Physical Action

How will you use the Method of Physical Action in your acting practice? Let me know down below.

Just discovered your channel, I've been a role player in training scenarios for the past 5 years, and have earned a reputation as one of the best in my part of the country for my emotional and realistic portrayals of my roles. I didn't even realize I've naturally followed the Stanislavski method, I've always had a strong imagination and I've been very emotional my whole life, and have learned how to control my emotions. Also in roleplaying, I am put in extremely physical and emotionally charged situations, which makes improv and acting come easily and naturally for me. My first day of role-playing I made the mistake of using my son's name to call for like he was missing presumed dead, and while the emotions it brought on got me instantly noticed and jump started my career, it was extremely mentally taxing. I haven't brought him back in my method since that day, but I regularly use emotional memory and different techniques that have started to add up and take a mental toll after 5 years (especially since almost everything I'm acting out is negative in some way). Watching your videos for different techniques to try so I don't keep f*cking up my already messed up brain haha! Thanks for your content!!

I always found accessing emotional memory from the past very stressful, I was at a juncture where I thought I should stop learning acting.. but then I came across your channel.. thank you so very much for affirming my belief that it indeed can be stressful and also not true to the given situation... I am trying now to play a character by building a backstory and trying to put myself in that situation.. and yes I can confirm that it wouldn't work on day one (at least for me).. but as you go through the character few days, you feel for him/her.. I latch on to that.

I found this short lecture/class on acting very helpful. And don’t worry it’s not about effective memory for playing a part which Stanislavski first introduced, it’s something more important and better for actors, wishing to grasp onto a character.

So well said. Best explanation I’ve come across. Truly excellent work! 🙏🏽

Spot on bro, as per usual!

Hellloo! Welcome to organig acting. Love this intro Simple yet it brings the excitment The urge to learn new things makes it more beautiful. You're amazing teacher I have all my doubt Cleared

Thankyousoomuch ❤️✨

So how do you feel the character emotions without emotion memory? A: Really feeling and understand the character?

Can actors actually apply this in auditions or in front of a camera in med shot? I have been wondering about that. Because in film, this can be applied in long shots and auditions you are limited because you cannot move from your spot

I googled this cos a studio in another city uses this and method acting. I have no idea what these are so I wanna k is what I may be getting myself into… haha!

Thank you, great video easily digestible. However, I disagree with your view on emotional memory. There is no reason why an actor cannot draw on an emotional memory and inhabitant that "place", say your dog dying, and incorporate that into action acting. It's the same for myself as a singer when covering a song. Firstly, understand the narrative of the song you are covering, secondly, take a similar life experience that matches that narrative, thirdly sing from that place. When a song is sung with emotion then it strikes home it's the same as acting, the audience will suspend their disbelief more readily if moved by the performer. Maybe some are unable to draw in emotional memory without falling into the pit traps. For myself, and many other performers, these potential dangers are no problem. In fact they are so insignificant that for people with the mindset I have would not even call them a problem but an advantage.

Do you practice everyday??

I wish this music wasn’t in the background- very distracting

OMG OMG Sense memory is NOT limited to that which you personally have experienced!!!! Full freaking stop. That is a misunderstanding from the US tour Stanislavsky took in the 30's. He was never able to convince his American proteges that they were laboring under enormous misconceptions, partly because they had already significantpy monetarily capitalized on the ideas they had seized on, called THAT "method" and so they all flatly refused to listen to a word he said. It freaking broke his heart and his spirit. It was plain greedy and shitty. Here's how the whole thing went down. This is just one of the reasons I won't teach American Method. Stanislavsky was always experimenting and for a brief - very brief - second, he put forth the idea (just a notion, as he had not yet worked with it and once he did, he quickly discarded it as not useful and potentially even dangerous) namely, that you can work with what you personally have experienced only. And that you can draw from it like drawing water from a well, again and again. Sadly, THIS NOTION IS FALSE. It leads to desensitization, which then leads to forced acting, which then leads the actor to shut down. As in flat, boring performances that are not "nuanced", or truthful, just dull and repetitive. The emperor, in effect, has no clothes. No one wants to admit they are bored and frustrated. If you're feeling frustrated, "stuck" and not enjoying acting, this is the BIGGEST reason why. Because that shit is also massively triggering and can even inflict harm. People like River Phoenix, who were abused and used these memories in their work, have been driven to suicide. It IS a wonderful way to control people, though. And control they did. Just read up on what Marilyn Monroe's teacher DID to her. Monsters. Sense memory is the exact opposite of recalling personal emotional traumas. It most closely resembles what very small children do when they are playing "pretend", which is an engrossing, all immersive experience during which the constricting sense of self IS COMPLETELY LOST, subsumed by completely other individuals, with unique habits of locomotion, facial expression, gesture, memory and objectives.