Tempo-Rhythm

Tempo-rhythm can act as a powerful bridge between the inner experience and its physical expression. For Stanislavski, tempo-rhythm was both inner and outer. Emotions to him had a distinctive pulse and pattern to them. ‘Tempo’ referred to the speed of an action or an emotion. The tempo could be fast, medium or slow. ‘Rhythm’ was, internally, the intensity of the emotional experience. Externally, it was the pattern of gestures, movements and actions. Stanislavski believed that tempo-rhythm was extremely vital in order to execute physical actions in a concrete and truthful manner. As early as 1918, Stanislavski   understood the importance of physically and emotionally giving richness to a character through the understanding and creation of tempo-rhythm. He likened the tempo-rhythms of action to those of music. Just as music had various movements like legato, staccato, andante or allegro in a continuous line, so should stage action and speech.  This would not only make the action organic, but also help stir the actor’s emotions.