André Teixeira

The belief that imagination’s engagement and emotional connection with what I play enhance my performance propelled me to do this research. However, these are not systematically integrated in instrumental practice. Thus, it seemed to me that the twentieth century theatre director Konstantin Stanislavski’s ‘system’ would be the perfect basis for such a quest. The starting point were acting techniques from his first book "An Actor Prepares": the "given circumstances", imagination-related ("supposed circumstances", “inner visions”, "magic if”) – and emotion-related ("emotion memory", "sensation memory", "surroundings"). Partly supported by existing literature, these techniques were linked with the instrumentalists' work and tested out in a self-case study through three interventions. The process consisted of making video recordings of the 'before' and the actual interventions, which were guided by the filling out of intervention forms designed by me. The techniques were applied on three distinct piano passages of Richard Strauss’ melodrama for narrator and piano "Enoch Arden". Furthermore, I did interventions’ reports to provide more palpable insights about the experience, namely the effects of each technique on the performer. The outcome was evaluated through a questionnaire filled in by a group of listeners, comprising musicians and non-musicians, and by me. The responses generally show that the techniques were effective. However, the recordings were perceived as very similar. Also, the listeners’ perception sometimes differed from mine. Nevertheless, the reports allow us to conclude that these techniques might affect the performer’s focus, creativity, self-confidence, knowledge about the works and also self-knowledge.

2. METHODOLOGY

My starting point will be Stanislavski’s book An Actor Prepares, which introduces the author’s acting system and deals with many psychological aspects of preparing a work for performance.

I will take some specific techniques that I imagine that could also be used by performing musicians and do three interventions in a self case-study to understand to what extent (or not) they can be useful.

I will support as much as possible the musical translations I do with the existing literature linking Stanislavski’s 'system' with musical practice (particularly, piano practice) and to some extent with research done within the musical scope or music analysis.

The techniques will be applied on three excerpts of the melodrama for narrator and piano Enoch Arden, by Richard Strauss. By testing out the techniques with a piece in which music and words are intrinsically related, the connection between the two fields becomes explicit and the work with emotions more concrete.

The process will comprise video recordings of me playing the passages to be tested before the interventions and their actual application in the interventions. The application is guided by the filling out of interventions' forms, so that the information is documented, and I will also do interventions' reports afterwards, in which I will provide my insights on the whole process.

Afterwards, through questionnaires, the recordings will be evalluated both by me and by a group of participants comprising musicians and non-musicians.

Then, I will analyse and discuss the results of the questionnaires and draw some conclusions about the effectiveness and usefulness of the techniques.

At last, I will refer to the potential implications for other musicians, as well as the prospect of exploring more techniques not approached in this research.

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