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.

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Access here the 'emotions' report.

Video recordings using 'sensation' and 'emotion memory':

Video recordings using the 'surroundings' to access emotions:

VERSION 1

VERSION 2

4.3. Emotion memory, sensation memory and surroundings

The emotion memory, the sensation memory and the surroundings are lures to reach and convey emotions.

In this intervention, I associated musical actions with emotions.

Subsequently, I selected the most appropriate lure to access my analogous emotion. Finally, I tried out focusing on different elements of my surroundings or even change them, so to understand their effect on my mindset and playing.

Concerning the emotion memory, Stanislavski believed that the memories used must be powerful, keen and exact; if they are weak, they won’t reach the audience. (1989, p. 202). Also, repeated feelings from emotion memory can influence the appearance of inspiration (1989, pp. 191-192). Furthermore, he reflects on how time purifies and poetically filters our memories. (p. 188) and on inconstancy of emotional memory. An actor should accept new memories if they are more effective than worn out old ones. (p. 188)

He also explicates that the sensation memory is based on experiences, connected with our five senses (p. 182) Later, he adds:

Of our five senses sight is the most receptive of impressions. Hearing is also extremely sensitive (…) Actors of the visual memory type like to see what is wanted of them and then their emotions respond easily (…) Although our senses of smell, taste, and touch are useful, and even sometimes important, in our art, their role is merely auxiliary and for the purpose of influencing our emotion memory (pp. 183-184)

Thus, when trying to apply this technique, we should recall sensations from our analogous experience, resorting to the senses of sight, taste, touch, pressure, itch, thermoception, sound, smell, proprioception, tension sensors, pain, balance, stretch receptors, chemoreceptors (vomit reflex), thirst, hunger, time (Dr Gareth Somers: Acting Coach, 2021).

Lastly, the surroundings comprise a variety of elements like the mise-en-scène, the lights, the sounds, etc. In musical terms, we could understand them as the vertical and horizontal disposition of the notes (harmony and melody), timbrical choices by the instrumentalist, as well as the meter (in the sense of the heavy/light functions of the beats and bars), etc. On the other hand, we can simply see it as the performer’s actual surroundings (lights, room, acoustics, etc.). In this case, I thought the second option would be of more interest for an experiment.

Stanislavski believes that surroundings have a big influence over your feelings. (…) When the external production of a play is inwardly tied up with the spiritual life of the actors it often acquires more significance on the stage than in real life. If it meets the needs of the play and produces the right mood it helps the actor to formulate the inner aspect of his role, it influences his whole psychic state and capacity to feel. (Stanislavski, 1989, p. 195)

In addition to this, he notices that an actor’s mood and objective affect the choice of the mise-en-scene and vice-versa. (pp. 198-199)

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