Research_Investigation_on_the_Glass_Menagerie

When preparing for a role, the actor must try and establish the ‘through line’, what Stanislavski termed as the ‘Super Objective’. This is the overall motivation of the character. _‘Everyone has their own pace, think of the extremes, the laid back character who seems to deal with everything at the same unhurried relaxed way, the opposite, would be the character who lives on his nerves, his body in a state of constant tension, his mind spinning…The actor’s job is to find the energy level that best relates to the character they are representing and then finding ways to generate this appropriate energy level as and when, it is needed.’ (The Actors Store, 2009) _ This information is relevant to the character of Tom as the actor may interpret him as being fairly in the middle of both extremes stated here in an external sense, however, internally his emotions and hatred for his work and the warehouse and his yearning for freedom where he can be the poet he wants. This manifests as Tom’s ‘Super Objective’. This can be applied to the character as his passion for creativity creates a more extreme pace and when he fights for his passion, more tension manifests and the actor is able to alter their physicality and voice by increasing their energy levels into portraying this passion. “Acting does not require you to be physically perfect. Actors need to reflect life in all its myriad forms, but actors do require, an intimate knowledge of their own bodies. What it can and can’t do.” {draw:frame} Physicality is the essence of life as an action brings meaning to any word and also conveys the subtext. The movement in Tom Wingfield’s case is imperative in the portrayal of his character and the socio-historical context of the time. It is important that the actor release all tension prior to working physically on the character. Stanislavski referred to tension as the ‘occupational disease of the actor’ (Stanislavsky, 1938). He believed that tension was the enemy of the actor as it required the use of excess muscles, thoughts and energies that were not necessary in the accomplishment of the actors specific task. For an actor who is playing Tom Wingfield, they must explore both stages of which he mounts to: his open and expressionistic stage; where he is releasing his emotions through communication or through poetry, and his closed off stage; which is his state for a significant proportion of the play. As his physicality is fairly minimal to either extent, the costume for his character can also remain minimal as possibly a suit or a warehouse uniform which would portray his life. During his open stage an actor should experiment with what works best for them and their body so that it doesn’t look forced which would contradict the illusion of realism. As this state is strongly connected with the heart, the actor should experiment with open chest movements and also the points of focus to do with remembrance, as if looking out onto the horizon. In Tom’s closed stage, an actor needs to experiment with closing their body off. For example, having the shoulders slightly turned inward as if to guard the chest. These physical actions prove to be essential aspects of the realistic portrayal of Tom Wingfield and his psychology. The character Tom Wingfield, like all characters of the realism style is unique. Stanislavsky developed his method of acting as a way of extending this uniqueness past melodrama and showing how the simplest of lives are most interesting and relative. The actor needs to realise that their unique qualities which are also shaped by their past are an essential facet which needs to be brought to Tom as this further extends the realistic style and allows the actor to live truthfully under the imaginary given circumstances which is Tom’s life. _ {draw:frame} _ References Sparknotes.com – The Glass Menagerie http://www.sparknotes.com/lit/menagerie/summary.html http://www.sparknotes.com/lit/menagerie/context.html http://www.sparknotes.com/lit/menagerie/characters.html Sparknotes assisted me in gathering further background information into the lives of the characters in the play as well as background information on Tennessee Williams and the play itself. How to do a South American Accent http://www.amercianaccent.com/intonation.html This website gave me the necessary information needed to explain the functions of an American Accent and how it works. The Theatre Group – Method Acting http://www.theatregroup.com/Method/relaxation.html http://theatregroup.com/Method/sense_memory.html This website informed me further about Stanislavski’s method and his tools which can be implemented into acting. 4) Albert Mohler http://www.albertmohler.com/commentary_read.php'cdate=2005-04-21 This website was a helpful tool in enforcing my theory of being “man of the house”. 5) The Actors Store - Movement http://www.theactorsstore.com/movement.htm This website was very helpful in understanding the importance of physicality in acting and also gave me exercises that could be used in relation characters. 6) Acting and Theatre – C.Evans & L. Smith – Published in 1992 {draw:frame} This book gave me support and knowledge of aspects of the theatre which are relative to Tom’s character, such as movement, voice and costume. This book was essential in giving me excellent vocal warm-ups which were traditionally designed for singers, however, I found them extremely relevant to voice acting. 8) Trade Secrets – Terence Crawford – Published in 2005 This book gave me knowledge and further explanations into what acting is and also how some of Australia’s actors work.