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Project Proposal So Painful 1

This project proposal outlines the student's plan to focus on achieving a realistic performance using Stella Adler's teachings. The plan is split into three stages: pre-production, production, and post-production. In pre-production, the student will conduct research, workshops, and personal practice to build their character. During production, they will integrate ideas from pre-production and work with other actors. In post-production, the student will assess their performance against initial targets using self-assessment and peer feedback to identify areas for improvement.

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103 views1 page

Project Proposal So Painful 1

This project proposal outlines the student's plan to focus on achieving a realistic performance using Stella Adler's teachings. The plan is split into three stages: pre-production, production, and post-production. In pre-production, the student will conduct research, workshops, and personal practice to build their character. During production, they will integrate ideas from pre-production and work with other actors. In post-production, the student will assess their performance against initial targets using self-assessment and peer feedback to identify areas for improvement.

Uploaded by

api-574033038
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Project Proposal

Over the duration of this year I have studied the following practitioners: Shakespeare, Max Stafford
Clark, Le Coq, Laban, Stanislavski, Stella Adler, Chekhov, Brecht, and Katie Mitchell. That being said, I
have gained more knowledge and understanding from these specific Practitioners: Katie Mitchell,
Laban, and Stella Adler. Using Mitchell’s psychological profile technique, I am able to identify the
motive behind a characters actions, when breaking down a text. When choreographing a piece, I like
to familiarise myself with Labans movement chart, so that I can match the intentions of a piece with
their appropriate action. Finally, when analysing a text, I want to pick out points that indicate a
characters nature, like how Adler taught to do so. After scrupulous thought I have decided to focus
on Stella Adler. I lacked the ability to demonstrate a truthful performance. Attempting to relate to a
character isn’t always possible, and ultimately relying on one’s own experiences and memories can
become confusing when replicating another character. My aim: By the end of the project I need to
achieve a realistic performance, whereby I need to expand my imagination, to create an authentic
character. This aim can be achieved by studying Adler’s teachings in depth.

To achieve, said aim, my plan is split into three sections: Pre-production, Production, and Post-
production. The main device of the pre-production stage is my calendar, which will allow me to
organise dates for researching and workshops, before, and in the early stage of rehearsal.
Workshops and research will aid me to make decisions in the building stages of rehearsal. Research
is also a key element into building my characters world - in order to expand my imagination; I have
to research the topics that are outside of the text to create a more complete, three dimensional
character. During workshops, such as improv and hot-seating, I can experiment with scenarios to
discover how my character might react to them, instinctively. Target setting and SWOT analysis, help
me measure my development as an actor, I can methodically chart my progress. Personally, taking
risks belongs in pre-production, as one can experiment in the early stages, with no consequences in
that: running out of time. Taking risks, for me, involves trying out different characterisation
techniques to discover which best suits me.

Personal practice time, both, fits into pre-production and production as I use this to work on
potentially difficult areas of a production which have to be learnt in the early stages of a production.
During the production stage, I can integrate the ideas I have obtained in research and workshops. At
this stage, I have been given the opportunity to work alongside other actors in character, where I
can investigate the contrast between characteristics and observe how two or more characters might
react to each others dramatised personality.When measuring success, I reflect on my previously set
targets and self asses the evidence I have provided, through practical work , theory work and the
main performance itself. Peer assessment provides an unbiased view of assessing whether or not I
have met my targets. In order to progress as an actor I will use self/peer assessment to mark the
areas in which I need to improve. From then on I can pair the tool which will allow me to upskill the
weaker areas.

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