at 01:25-02:34 in the above film clip). By responding with my own imaginative capacities to this particular fictive situation, a third being, the character of the Abigail as a baby starts to emerge. Abigail does not arrive out of the blue, but rather through the process of me bringing myself before and focussing with open attention on the facts of her circumstances. In contrast to the idea that a character is something that is apart from and separate to the actor; someone to be ‘found’, “out there p.7), Stanislavski saw the personality, in other somewhere” (Benedetti,1998, words the real I of the actor as an integral part of the make-up of the character. This is due to the fact that ultimately, as Stanislavski states, on stage there is me “only … in an imaginary and therefore the initial exploration must be myself, as situation” “as (Benedetti, 1998, p.7). The character then is both separate to and, at the same me” time, a part of the actor something which correlates with my own experience of – character creation in this research. On the one hand, the factual details of the are (seemingly) separate to my own life and when I think of Abigail characters’ lives Hurley I view her as someone else, in the third and not in the first person. On the other hand, I have embodied in the first person, key imaginary events from her fictive life through imagining myself in her situation; something I have only been able to do through my own first person, subjective, real responses. Therefore, conversely, to “I” some extent, I also experience her as part of me. Experiencing and am as I started to explain in Chapter Two, is when “I being”, the performer starts to feel emotions in response to the imaginary character’s situation and the third being - that of the character - starts to emerge (Benedetti, 1998, p.9). In reality, I cannot truly know what a real one day old premature baby in these particular circumstances feels like, but I can imagine myself in the situation of the baby and start to experience how I (albeit as an adult in her forties) would
at 01:25-02:34 in the above film clip). By responding with my own imaginative capacities to this particular fictive situation, a third being, the character of the Abigail as a baby starts to emerge. Abigail does not arrive out of the blue, but rather through the process of me bringing myself before and focussing with open attention on the facts of her circumstances. In contrast to the idea that a character is something that is apart from and separate to the actor; someone to be ‘found’, “out there somewhere” (Benedetti,1998, p.7), Stanislavski saw the personality, in other words the real I of the actor as an integral part of the make-up of the character. This is due to the fact that ultimately, as Stanislavski states, on stage there is “only me … in an imaginary situation” and therefore the initial exploration must be “as myself, as me” (Benedetti, 1998, p.7). The character then is both separate to and, at the same time, a part of the actor – something which correlates with my own experience of character creation in this research. On the one hand, the factual details of the characters’ lives are (seemingly) separate to my own life and when I think of Abigail Hurley I view her as someone else, in the third and not in the first person. On the other hand, I have embodied in the first person, key imaginary events from her fictive life through imagining myself in her situation; something I have only been able to do through my own first person, subjective, real “I” responses. Therefore, conversely, to some extent, I also experience her as part of me. Experiencing and “I am being”, as I started to explain in Chapter Two, is when the performer starts to feel emotions in response to the character’s imaginary situation and the third being - that of the character - starts to emerge (Benedetti, 1998, p.9). In reality, I cannot truly know what a real one day old premature baby in these particular circumstances feels like, but I can imagine myself in the situation of the baby and start to experience how I (albeit as an adult in her forties) would