Read Getting Into Character: Seven Secrets a Novelist Can Learn From Actors Online
Authors: Brandilyn Collins
Tags: #Writing
Getting Into Character: Seven Secrets a Novelist Can Learn From Actors (32 page)
And on it goes.
The novelist’s challenge of “Getting into Character” is indeed never-ending. Ultimate characterization is an art that requires our lifetime pursuit—a pursuit that rests upon fervent, continual studying and recording of the human condition. When we blend new observations with these techniques that we’ve borrowed from our acting cousins, we will continue to see fresh, vibrant life breathed into our characters.
Even more important, we’ll learn about ourselves …. Which leads to greater understanding of our characters …. And the cycle goes on.
APPENDIX
Books on Method Acting
By Stanislavsky and Boleslavsky
Information about Method Acting was taken from these books. You might want to investigate them further, particularly the chapters that led to my Seven Secrets. (Listings refer to the most recent editions.)
1.
An Actor Prepares
, by Constantin Stanislavsky, translator Elizabeth R. Hapgood. Paperback, 318 pages, Routledge/Theatre Arts Books, 1989.
The first of Stanislavsky’s “ABC books” presents his teachings through the narration of a fictional acting student, Kostya, as he and his comrades attend classes taught by the great Director Tortsov (a stand-in for Stanislavsky himself).
An Actor Prepares
focuses on the inner preparation of an actor as he explores the depths of a role. The book also discusses action, relaxation, concentration, and imagination.
Corresponding chapters
Personalizing
Chapter 2, “When Acting Is Art”
Chapter 3, “Action”
Action Objectives
Chapter 7, “Units and Objectives”
Chapter 11, “Adaptation”
Chapter 15, “The Super-Objective”
Emotion Memory
Chapter 9, “Emotion Memory”
2.
Building a Character
, by Constantin Stanislavsky, translator Elizabeth R. Hapgood. Paperback, 308 pages, Routledge/Theatre Arts Books, 1989.
In Stanislavsky’s second book , Kostya and his fellow students explore how to use what they have learned about the inner lives of their characters to create the characters externally. Stanislavsky covers topics such as dressing a character, expression, diction, intonation, perspective, and tempo-rhythm in speech and movement.
Corresponding chapters
Personalizing
Chapter 1, “Toward a Physical Characterization”
Chapter 2, “Dressing a Character”
Chapter 3, “Characters and Types”
Subtexting
Chapter 8, “Intonations and Pauses”
Inner Rhythm
Chapter 11, “Tempo-Rhythm in Movement”
Chapter 12, “Speech Tempo-Rhythm”
Restraint and Control
Chapter 6, “Restraint and Control”
3.
Creating a Role
, by Constantin Stanislavsky, translator Elizabeth R. Hapgood. Paperback, 274 pages, Routledge/ Theatre Arts Books, 1989.
In Part I, Stanislavsky speaks as himself as he takes the reader through preparation of roles from one of Russia’s most popular plays, Griboyedov’s
Woe from Wit
. In Part II, he returns to the fictional narration of Tortsov and his acting class as they prepare roles from Shakespeare’s
Othello
. As the acting class prepares these roles, Stanislavsky revisits the techniques and concepts from his first two books, demonstrating how they are put into action to bring characters to life.
Corresponding chapters
Action Objectives
Part I, Chapter 2, “The Period of Emotional Experience”
Coloring Passions
Part I, Chapter 2, “The Period of Emotional Experience—The Inner Tone” (subheading)
4.
Acting: The First Six Lessons
, by Richard Boleslavsky. Paperback, 124 pages, Martino Fine Books, 2013.
This little book can be read in an hour, but it takes a lifetime to absorb. Richard Boleslavsky, born in Poland and educated in Russia, began training at the Moscow Art Theatre in 1906 and remained a member of Stanislavsky’s company until 1920. Later, he came to America, directing both Broadway plays and Hollywood films.
As with Stanislavsky’s books, Boleslavsky’s lessons are taught in a fictional setting, with “The Creature,” a young female acting student, posing questions to the teacher. The lessons/chapters are: “Concentration,” “Memory of Emotion,” “Dramatic Action,” “Characterization,” “Observation,” and “Rhythm.” Boleslavsky set these chapters months and sometimes years apart in “The Creature’s” study of acting, knowing the growth that would need to occur within her between the lessons.
Corresponding chapters
Personalizing
The Fourth Lesson, “Characterization”
Inner Rhythm
The Sixth Lesson, “Rhythm”
Emotion Memory
The Second Lesson, “Memory of Emotion”
Author’s Note
Thanks, folks, for journeying with me through
Getting Into Character
. I hope you’ll find these Secrets helpful as you write.
If you are able to leave a review for this book on
Amazon
, I’d be very appreciative.
For more information on my books, please visit my website:
www.brandilyncollins.com
. There you can read the opening chapters to all my books, plus see the various series and stand-alone novels. To keep informed of my latest releases and discounts on titles, you can subscribe to my free newsletter, Sneak Pique, from the site’s home page. You can email me through the “Media” page.
I enjoy keeping in contact with readers through
Facebook
. On Twitter I’m @Brandilyn.
Quick links to some of my novels mentioned in this book:
Bradleyville Series (Contemporary)
Stand-Alone Suspense
Table of Contents