ABSTRACT

The popularity of streaming services, especially after the COVID-19 pandemic, reinforced the understanding that screen acting skills should be prioritized, prompting a reimagining of Stanislavsky’s practices to address the needs of the contemporary actor and acting graduate. Screen actors are expected to self-tape using digital technologies to showcase their acting skills independently. This indicates a growing demand for self-reflective abilities on what works or doesn’t work in recorded performances. Aspiring to develop lifelong learning screen actors, this essay argues that Konstantin Stanislavsky’s Method of Physical Actions can be reversed for generating findings from acclaimed screen performances to use in self-taping. The reverse Method of Physical Actions proposes that physical scores are artefacts that can be objectively broken down into psycho-physical gestures and character behaviours that can be appropriated for self-taping etudes, and analysed when reflecting on self-tapes, fostering an ongoing embodied understanding of how acting choices work on screen. The breakdown and examination of two scenes portraying Helen Mirren in The Queen (2006) and Viola Davis in Fences (2016) illustrate how the Method of Physical Actions can be rediscovered for do-it-yourself screen acting. This essay helps actors, students and actor trainers to understand how acclaimed actors create outstanding screen performances.

摘要

流媒体服务的流行，尤其是在 COVID-19 大流行之后，加强了人们对屏幕表演技能应该优先考虑的理解，促使人们重新构想斯坦尼斯拉夫斯基的做法，以满足当代演员和表演专业毕业生的需求。银幕演员需要使用数字技术进行自录，以独立展示他们的演技。这表明人们对自我反思能力的需求不断增长，以了解在录制的表演中什么有效或无效。为了培养终身学习的银幕演员，这篇文章认为康斯坦丁·斯坦尼斯拉夫斯基的身体动作方法可以逆转，以从广受好评的银幕表演中产生发现，用于自录。身体动作的反向方法提出身体分数是可以客观地分解为心理生理手势和性格行为的人工制品，可以适用于自录练习曲，并在反思自录时进行分析，促进持续的具身理解表演选择如何在屏幕上发挥作用。对描绘海伦·米伦的两个场景的分解和审视女王(2006) 和《篱笆》 (2016)中的维奥拉·戴维斯 (Viola Davis ) 说明了如何重新发现身体动作的方法以用于自己动手的银幕表演。这篇文章帮助演员、学生和演员培训师了解备受赞誉的演员如何创造出色的银幕表演。