THE MOPA APPROACH - A Tool for Actors and Directors
"The first step in the MOPA Approach is interacting with everyone around you in the here and now. Not trying to imagine a world where 'If' you had a certain goal and 'If' you were subject to a certain set of circumstances you 'imagine' you would behave in a certain way" - Nic Brownlie, Artistic Director
Until the year 2000 our Artistic Director, Nic Brownlie, was a teacher, lecturer and prime exponent of Stanislavski's System. He produced a series of short films demonstrating core elements of The System and was in the process of writing a book about Stanislavski's techniques. Nic variously rehearsed and directed scenes and plays exclusively using either Emotion Memory, Psychotechnique or The Method of Physical Action as the core rehearsal method. He also combined these techniques in rehearsal on occasion, as Stanislavski variously did. In 1999, working with a team of young actors, Nic independently identified the modus operandi described by Stanislavski in one his last letters which, at the time, was unpublished and unknown outside of Russia. Over the next twelve months Nic worked to resolve issues which arose in the course of working with this particular methodology. Finally, in early 2000, Nic unexpectedly found himself rejecting the whole notion of The Magic If in a now infamous rehearsal room incident. This led swiftly on to rejection of the whole Stanislavski System in favour of a new technique which took elements of The System but re-evaluated them in a more healthy Theatrical context. This new technique has become known as The MOPA Approach.
The MOPA Approach is a derivation of Stanislavski's Method of Physical Action.
Unfortunately, in the development of his Psychotechnical System, Stanislavski was working with a theatre model where blacked out auditoria and hushed audiences were a beguiling new possibility. The advent of electric lighting had made the fourth wall possible, since now the stage could be isolated with illumination.
The result was a focus on the actor on the stage. The role of the audience was downgraded in the theatrical experience.
This downgrading, of course, was not entirely intentional. For while Stanislavski certainly wanted to eliminate any sense that the actor should show indebtedness to his 'benefactors' in the audience - for example, by never turning his back on them - he believed that this could be achieved in harmony with heightening the audience experience.
To some extent he was correct. For a novel experience of Theatre followed that was indeed entrancing at the time.
But it was not built on the traditions of Theatre. For traditionally, in Theatre, the audience was a part of the action, not an onlooker behind a fourth wall. Stanislavski failed to see this, and this was his blindspot.
Theatre behind a fourth wall is television. It is looking at a painting in a gallery. It can live, but not as Theatre lives.
Bertolt Brecht, contrary to popular perception, understood Theatre far better than Stanislavski. He understood the importance of the audience, even if he mistook their role. He wanted audiences to think in the Theatre. But Theatre, as Aristotle and Plato both knew, is not first and foremost about audience Thought but about audience Emotion.
As for Stanislavski, he wanted to inspire the audience's emotion. Of course he did. But by creating a fourth wall between actor and audience he placed an unnatural obstacle in the path of his own ambition.
The MOPA Approach obliterates the fourth wall and opens channels of free communication between actor and audience, between person and person.
Its fuel is stories, imagination and action. Its achievement is natural energy, momentum and a door to world-class performance in the traditional theatre mould.
The first step in the MOPA Approach is interacting with everyone around you in the here and now. Not trying to imagine a world where 'If' you had a certain goal and 'If' you were subject to a certain set of circumstances you 'imagine' you would behave in a certain way. For this is not Theatre acting.
In the Theatre you need to 'do' here and now. You need to have a plan and execute it for real in front of people. Not hide behind an imaginary wall in an imaginary world.
Mamet craves this. But does not know seem to know how you go about getting it.
Most great Theatre actors have done it, without necessarily having a technique for doing it again and again.
And where does Shakespeare come in all this?
Shakespeare's Theatre is about doing; it is not about lengthy rehearsals with a book in hand with a director who wants to 'interpret' the text and actors who want to get into the mind of their character. For in Shakespeare's Theatre the focus is on Stories and Action. And once you see Theatre how Shakespeare saw it - and not how Stanislavski, through no fault of his own, saw it - you will see new meaning in Shakespeare's suggestion that all the world's a stage, and you will understand the way in which Shakespeare has inspired MOPA Theatre Company.
To begin using the MOPA Approach for yourself - or to learn more about it - contact us.
Nic Brownlie - February 2010