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.

Interventions’ reports

Imagination

Process of application of the techniques:

- Responding the ‘supposed circumstances’ questions sitting at the piano and through analysis of the score.

- Filling in the second part, concerning the ‘inner visions’ by distinguishing different musical actions and attributing imagined images created at the time under the influence of the music’s text.

- Mental practice the music in association with this images

- Record myself playing while following that ‘inner film’

- Reflect on the result and if needed record again, until a satisfactory result.

In the ‘magic if’ part:

- Create a magic if, understand its impact on the story, emotions and music (for instance, if it suggests it is more laid back, more nervous, etc.)

- Record (and usually I felt some surprise by the musical effects; at the same time, I had to really react on the moment, as if improvising)

These were the ‘magic ifs’ that I created:

Allegretto: What if Enoch wants Annie just to prove that he is stronger than Philip?

Repercussions: if Annie has feelings for Enoch, they are not mutual and probably Philip knows that.

Langsam: What if Annie was making her last call for Enoch not to go?

Repercussions: She would still have a thin strand of hope, it would be lethargic only on the surface but despaired inside.

Agitato: What if deep down Annie was not so sad for losing Enoch because now she could be with Philip?

Repercussions: Agitation would refer mainly to the loss of the child and the difficulty in financially handle the situation. Philip’s theme would appear like a mirage, a hopeful light at the end of the tunnel.

Observations: About ‘supposed circumstances’ and ‘inner visions’:

- For Allegretto made sense, seemed easy and logical.

- Langsam felt more difficult to associate with images, given that it mainly creates an involving mood, very emotionally based.

- Agitato is somewhere in between.

- A question I came across: can thoughts and feelings be imagination’s inner visions?

About ‘magic if’:

- Would be helpful to use a something like a checker of magic if’s validity and effects, through questions like:

Was it based on logic? How?

What is the effect on my thoughts and feelings?

How did it impact the rest of the supposed circumstances? How did it impact on my inner vision film?

What is the effect on my playing? What did I change?

Last comments: Throughout the intervention I felt completely focused and engaged with the challenges. For being extra-musical, the techniques gave me a sense of freedom: the music happened and sometimes surprised me, as if it wasn’t me playing, despite I was not thinking directly in musical terms. That affected positively my self-confidence. The creation of the ‘inner visions’ completely took my full attention, I there was no room for me to have random or negative thoughts. Also, it built a more colourful imagery around the passages. The ‘magic if’ indeed worked as in Stanislavski’s description: I felt compelled me to be creative in a very natural, unforced way. The only thing that could be better would be to make sure it is perfectly connected with what follows in the plot, so that it can be used in next performances. This is of course my mistake, because Stanislavski makes explicit that it needs to be grounded on logic and the ‘given circumstances’. Still I felt it was effective, at least in how I experience that moment.

Finally, the after-practice reflection allowed me to better understand what worked better and what not for me, thus increasing my self-knowledge

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