The Method of Physical Action
Stanislavski developed the "method of physical actions," to solve the dilemma of spontaneous emotion in a created environment. In this technique, the actor would perform a physical motion or a series of physical activities to create the desired emotional response for the character. Emotions were considered to be formed from the subconscious, so this technique allowed the actors to consciously target and control their subconscious emotions through movement. For instance, if an actor needed to weep, he could sigh and hold his head in his hands, a physical action that many who are crying instinctively do.
On stage, if an actor experiences only internal feelings or only physical actions, then the performance is dead. The reasoning behind this goes back to the union of the psychological and physical. The two go hand-in-hand. If an actor attempts to portray a character by employing one aspect of the union without the other, then they are performing incompletely. Internal experiences and their physical expression are unbreakably united. Whether it is through a facial expression or the tapping of a foot, everything a human experiences psychologically is displayed through physical means. This is termed a psycho-physical union.
The correct physical action does not come automatically for every psychological response nor do they stimulate identical responses for every individual. Many times, actors need to experiment until they determine what best works for them and for the character they are trying to portray. The best way to experiment with this is through improvisation. The best improvisers are those who can intuitively act and behave onstage as though they are in a real situation.
Through his work, Stanislavski reversed the human reaction system in which an emotion allocates an action. Method actors use actions to control their emotions. This allows actors to "live" in silences or pauses in the dialogue of the script and not only in the words. They are able to remain in character. Reacting is essentially emoting and includes allowing the body to outwardly express what the mind is inwardly experiencing.
Read more about this topic: Stanislavski's System
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