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Theatre Arts for Advanced Secondary Schools

Imagination
In the imagination aspect, the actors are trained to use imaginative faculties rather
than trying to copy reality. Stanislaviski believed that there is no such a thing as
actuality on the stage and that art is a product of imagination. Through imagination
technique, Stanislavski helped his actors to understand the acting purpose which
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is to turn the play into a theatrical reality. The richness of actor’s imagination
would always make the performance more interesting in terms of objectives,
physical action and in creating given circumstances around the character.

Inner motive forces
In this approach, Stanislavski insisted on training actors to find motivation
either driven by emotions or by the mind to choose physical actions. Motivation
arouses the ‘will’ of the actor to perform the given actions. Thus, the ‘will’
became activated indirectly through either emotions or the mind. He considered
that to be eager to act with excitement and animation, the actor must possess
three movers of psych and soul of acting life. These movers are: artistic wish,
creative mind or intellect and creative will. The Figure 4.1 presents elements of
internal approaches.

Figure 4. 1: Stanislaviski’s internal approaches

Activity 4.1

Use online sources or conduct a library search to find a play, then;

(i) Read the play carefully focusing your attention on main characters; and
(ii) Identify the specific aspects of the character that you consider internal.

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