Relaxation - Stanislavsky wanted his actors to be aware of their muscles and what they were doing. He created exercises that involved tensing and relaxing muscle groups so the actors could be begin to sense what their whole bodies were like. Stanislavsky believed that unnecessary tension restricts and actor and locks away imaginative possibility moreover in order to be fully present in the moment you can not be carrying round and physical tension.
Given Circumstances - All the information the playwright gives us through the text; the unchangeable concrete facts of the play. We can use these to guide our interpretations of the characters and how we portray our intentions on stage. Examples of given circumstances include: - events, time, place, set. sound etc.
Action - Every single moment and every line of text contains an action. This is directed towards the other characters in the scene and can be paired with a transitive verb such as "to persuade". The general aim is to string all the action of an entire performance together and voila! You have a performance!
Active Analysis - Rehearsal process developed by Stanislavsky in the later period of his life. At it's core lies improvisation; "Here, Today, Now" utilizes all the tools and actors holds with them in the moment. Task using own words and tightening the link between actor and text.
Affective/Emotion Memory - The process of recalling feelings/emotions from own past experiences that are applicable to the characters situation and story. It involves engaging the imagination, the 5 senses (taste, touch, sight, sound and scent). It's a deeply psychological and complex form of connecting with character but it is a very strong way to just feel.
Beat/Bit/Unit - A section of text where a character is pursuing a particular objective. This usually ends with the objective being blocked, dismissed or achieved and after this happens there's a complete change in dynamics and the scene shifts. These beat changes mostly occur during the exit or entrance of a character as well.
Inner motive forces - The three main components of the actors psycho-physical instrument: intellect (thought-centre) feelings (emotion centre) and physical manifestations of intentions (will or action centre). The relationship between these three is key in creating good psychological performances.
Objective - What the character wants and is striving for in a particular scene. This is expressed through and active verb. These are the most important factors in playing truthful interactions within scenes.
Tempo- Rhythm - The tempo is the speed in which an action is performed and the rhythm is the intensity. Inner and Outer tempo rhythms may contrast n which shows a conflict within the rich inner life of a character.
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