A Dream Of Passion by Lee Strasberg
Notes from the big A Dream Of Passion by Lee Strasberg.
For one interested in creativity… the nature of creativity… Stanislavsky sought to draw conclusions about the general nature of the creative process.
Essential elements remain the twin requisites enunciated by Talma ‘unusual sensitivity and extraordinary intelligence’
Force his soul so to his own conceit.
Emotional memory is the origin of the creation of any work of art.
Emotion recollected in tranquillity, the emotion is contemplated till, by a species of reaction the tranquility gradually disappears, and an emotion kindred to that which was before the object of contemplation is gradually produced and does itself actually exist in the mind.
Deep and even obsessive thirst for knowledge and culture.
This inner emotional experience that I had come to recognise as real acting could be a created with behaviour that was strictly bound by elements of rhythm or a musical framework.
Basic problem in acting, the problem of inspiration.
Does the actor actually experience the emotion he is portraying, or should he demonstrate the emotion without experiencing it?
Value of experience, value of demonstration.
Masks or Faces?
Diderot describes a very simple paradox: for the actor to move the audience, he must himself remain unmoved. The essay, therefore, seems to conclude that external acting is to be preferred to emotional acting
Stanislavsky forced me to reexaime my negative reaction to emotional acting.
This need for a method of consistently arriving at creativity seemed to point to an answer that I myself had been looking for.
The illusion of the first time.
Emotion recollected in tranquility
Stanislavky always seemed to fade into the character.
He was convinced that the audience was entirely in his power. At the end of the play he was surprised to find that the other actors avoided him. His performance had ben a failure, although he himself had felt a real satisfaction in what he was doing on the stage.
Not only physical makeup but spiritual makeup was necessary before every performance
Movement without tension
Criticism of the actors too intense involvement with his own psych, with insufficient outward expressiveness.
Always have a reason, a problem, a cause for appearing on the stage.
Possession of this capacity to respond to imaginary stimuli is what characterises the nature of the actor’s talent.
The handling of real objects on the stage does not train the actor to solve the problem of the stage experience.
An actor could experience and yet not be able to express an emotion
I had to find ways of dealing with an actor’s mannerisms that obscured the truth of expression that involves the relationship between intensity of feeling and emotion.
Concentration is the key to have has been loosely thought of as imagination
Relaxation is only a prelude to the actor’s central concern: the need for concentration.
Tension – not as mental or emotional disturbance, but as the generation of unnecessary energy that interferes with the normal functioning of the human being – is part of the natural state of living.
The problem of expression – as a means of sharing one’s individual way of experiencing.
The human instrument.