Stanislavski's Method in Dramatherapy

What Does It Mean to “Step into the Shoes of a Role”?
Am I affected by the role I am playing? If so, in what way?
How can I utilize the material that emerges from embodying a role?

I begin by emphasizing that Dramatherapy is not at all concerned with the technical execution of a role. On the contrary, it focuses, as we have said many times, on the expression and experimentation itself, rather than on how well a role has ultimately been performed.

At the core of training in Dramatherapy lie the works of great playwrights and theorists who have influenced both the theater world in general and Dramatherapy specifically. One of these significant works is the acting method of Konstantin Stanislavski.

Stanislavski’s method is known for its emphasis on the most authentic performance of a role possible, offering powerful tools for understanding and exploring human identity (Tsolakidis, 2016).

Although, as mentioned earlier, Dramatherapy is not concerned with achieving an aesthetic result in technical terms, it has been deeply influenced by Stanislavski’s method and draws from it (Jodry et al., 2020). Drawing from his approach, in Dramatherapy, we focus on how individuals facing everyday human challenges can use the art of drama to explore, express, and discover new aspects of themselves.

A Few Words about Stanislavski’s Method

The fundamental principle of Stanislavski’s method is the search for the internal truth of the role, as perceived by the individual portraying it (Stanislavski, 1989). According to him, the process of acting is not a simple imitation of a character’s external behavior but a deep introspection that connects the personal experiences of the actor with the role itself. In order for the individual to come closer to the role, they need to embody it under different conditions to familiarize themselves through their personal experience and identification (Stanislavski, 2006). This can be achieved by applying one of his techniques, the so-called Stanislavski “magic if”, which is the imaginative question: “What would I do if I were in the same circumstances as the character?”

By applying the “magic if”, actors connect personal experiences with the fictional circumstances of the role, facilitating the creation of a convincing and authentic interpretation. This process enhances their artistic expression while also allowing them to approach deeper emotional and psychological issues (Stanislavski, 2004).

Exploring Identity through Role

In Dramatherapy, participating individuals often confront identity questions, especially when they are experiencing periods of change or crisis in their lives. Adopting a role can provide a safe space to test new identities and re-examine existing ones. In practice, this may mean that an individual embodies roles that reflect parts of their self, such as their “social” or “internal” identity, and through this process, they begin to realize which aspects of themselves are truly desired and which are socially constructed or adapted to the expectations of others.

Connecting Stanislavski’s Method to Dramatherapy

Stanislavski’s method can serve as a powerful therapeutic tool in Dramatherapy, especially when participating individuals explore identity issues (and when do we not explore such issues?). As a method, it does not aim for artistic performance but for the exploration of emotional and psychological states; therefore, participants do not need to be actors; they use the theatrical process as a means of expression and experimentation.

Thus, using Stanislavski’s “magic if” in a Dramatherapy session, individuals are invited to embody roles, explore fictional circumstances, and ask themselves many questions such as, “What would happen if…?” Through this imaginative play, they can test new behaviors and reactions, potentially confront fears or repressed emotions, and better understand their deeper desires.

Footnotes

*By “authentic,” I do not imply that there is any specific, objective identity in every role. Rather, in the way I interpret this specific position of Stanislavski, I refer to that moment when the person embodying the role, through their personal lenses, has understood, embraced, and empathized with the character’s concerns, desires, dreams, etc.

Bibliography

Jodry, J., & Reid, M. (2020). Acting theory applied to counseling: Stanislavski continues to contribute to psychic healing. Journal of Creativity in Mental Health, 15(2), 223-234.
Stanislavski, C. (1989). An actor prepares. Routledge.
Stanislavsky, K. (2004). An actor’s handbook: an alphabetical arrangement of concise statements on aspects of acting. Taylor & Francis.
Στανισλάφσκι, Κ. (2006). Πλάθοντας ένα ρόλο. Εκδόσεις Γκόνη.
Τσολακίδης, Ε. (2016). Η εξέλιξη του συστήματος Στανισλάφσκι: Σχολές και μέθοδοι.