Despite the idea of Stanislavskian actors creating and living in the head of their characters, this only works in theory if the actor can be completely at home in front of a camera or on stage, this at face value, does not deal with stage fright. I have noticed in some of my works that actors change and lose quality when the camera is rolling, probably due to a form of fright. This occurs due to defamiliarisation, this is the process by which we forget how to automatically use speech as a means to convey thought, instead we lose to autonomous nature and as such have to think about it and at this stage we separate from the character we've created and go back to being a person just pretending, when someone is pretending to be a character it is often much more of a wooden performance then when they are 'living the character'. This is not to say that an actor has to follow Stanislavsky but for the sake of this I think we should assume that it will be conveyed as the best way as this is what Stanislavsky believed. The case can definitely be made in his defence in this case because it is very true that subconscious has a much deeper and diverse control over subtle expressions and patterns in movement than someone deliberately 'acting' and making very conscious decisions to be the way they are.
The first way in which Stanislavsky aims to combat stage fright is through the instilling of what he refers to as a sense of faith. This is putting the idea into the actors that because the character has been built around their lives and their experiences then they must believe that the character will be perceived as real just as the person it is based around is real. In theory this can eliminate stage fright because it often stems from the fear of not being good enough which this will eliminate by adding the belief that they are in fact good enough and the character will hold up to scrutiny.
Another way in which Stanislavsky aims to eradicate stage fright is through his training technique of the circle of attention. This involves having an actor on stage then shining a light to encircle them, this creates the illusion of them being alone in public as they are still in public but are separated by the wall of light that now surrounds them and doesn't allow them to see anything beyond the light. during the training of the actor the light will vary in size and eventually the actor will be able to internalise the light so it only takes their imagination to know that there is a barrier between themselves and the audience. This eliminates stage fright because it allows the actor to take themselves out of the real world scenario of being an actor on stage and allows them to immerse themselves in the world of the play where they are the character and not an actor.
The third way is in the same vein as the circle of attention but instead is the object of attention, in this technique an actor focuses upon an object or piece of the stage and begins to question it externally, for example: "look at that table" "what wood is it made from?", "where was it made/", "was it expensive?". Then the actor internalises their questions in a manner which creates emotion: "Do you like the table?" "I don't think I could afford such a beautiful piece". In both of the last two techniques they are employed to take the audience out of the actor's sphere of awareness and allow them to return to their performance without the distraction or worry of the audience perception.
These two techniques however also transcend just a means of beating stage fright and merge with the psycho-technique through what Stanislavsky refers to as Communion (no not the church thing) this basically is how an actor relates to the space they're in, and the things around them. This then allows the object of attention to become more than a distraction and instead it allows them to share their performance around these objects. For example a chair may say a lot about a character that can aid an actor, for example a high back leather chair has an air of status and power and it immediately passes these qualities to the person sitting in it. This also helps to remove the air of artifice from a production because it means that there is no authorship on things like objects and settings, they're not their by design in the actors head, they are there because the world they inhabit has put them there and as such they just exist, this makes for a more believable performance because if we remove authorship we remove an aspect which detracts from the perceived reality of the production.
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