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.

Access here the 'imagination' report.

Video recordings using 'imagination' ('supposed circumstances' and 'inner visions'):

Video recordings using the 'magic if':

←

4.2. Imagination – Supposed circumstances, inner visions and magic ‘if’

The form regarding ‘imagination’ starts with questions that, as discussed above, allow us to suppose the circumstances of the work. Based on Stanislavski and Whitehead I set out the questions ‘when?’, ‘where did it come from?’, ‘what does it want?’, ‘where does it go?’, ‘what will it do when it gets there?’ (1989, pp. 76-77), ‘why does a musical action happen at a specific point?’ and ‘how does the designated musical action unfold?’ (Whitehead, 2019, p. 25)

We can also stir our imagination by supposing a plot based on the music and its ‘given circumstances’, unless of course it is already given like in the case of Enoch Arden or programmatic music. In that case, the plot comprehends the ‘given circumstances’.

The ’supposed circumstances’ are linked with the next technique, the ‘inner visions’:

We must have, first of all, an unbroken series of supposed circumstances in the midst of which our exercise is played. Secondly we must have a solid line of inner visions bound up with those circumstances, so that they will be illustrated for us (…) something like a moving picture. As long as we are acting creatively, this film will unroll and be thrown on the screen of our inner vision, making vivid the circumstances among which we are moving. Moreover, these inner images create a corresponding mood, and arouse emotions, while holding us within the limits of the play. (Stanislavski, 1989, p. 69)

Stanislavski also adds that inner visions are more easily grasped than emotional memory to trigger emotions and feelings. (p. 70)

Therefore, the next step is to create that series of inner visions bounded up with the circumstances and according to each musical action, while incorporating specific imagery indicated by the composer. (Johnson, 2019, p. 152)

At last, we have the ‘magic if’. Since it is not an imposition, only raises an hypothesis (Stanislavski, 2018, p. 81), it lifts us to the plane of imagination (1989, p. 59), by just asking ‘what if something happens?’. Besides, the interior and exterior actions are created by themselves, in a normal, natural, organic way. (2018, p. 78)

To conclude, the if gives the push to dormant imagination, whereas the given circumstances build the basis for if itself. And they both, together and separately, help to create an inner stimulus.” (1989, p. 54)

The following video gives some more insights on the technique:

https://www.youtube.com/watch?v=uLuSg2tC35Y (Dr Gareth Somers: Acting Coach, 2019)

→

Tip

Tip