I’m Shrinking My Circle of Attention

Every formally trained actor is familiar with Konstantine Stanislavski's teachings. He revolutionized acting, moving beyond the external representation most actors employed at the time (think head back, hand on the chest and audible gasp!). He challenged artists to explore a character’s psychological and emotional aspects. It wasn’t enough for the audience to see and hear you; your character must be understood and believable. I know it sounds obvious, but it was a revelation at the time. Through years of research with the Moscow Arts Theatre (yes, research happens in the theatre) he created and honed the acting methods behind many of our time's greatest performances. There isn’t an acting coach alive who hasn’t been influenced in some way by The Stanislavski Method.

This is the point where I stop and say yes, there are brilliant actors who never had a day of training in their lives. This is called talent. And for those with an abundance of it, who can walk onto a set or stage for the first time in their lives and mesmerize us, I’m glad you’re here. You inspire me. For those of us who were not born as gifted but still have a calling to pretend for a living, we approach acting as a craft, and we work to improve it by studying with people who know more than us. Now, back to Stanislavski…

Stanislavski’s books were required reading for my graduate class, and I devoured them. I draw from his system whenever I develop a new piece, play a role, create, or write a character, and it is the foundation of my teaching style. His methods offer “ways in”, and I find myself using them just as often in life. Recently, one Stanislavski lesson has taken on a new significance for me. He called this lesson Circles of Attention, and I remember clearly when I learned it.

It was my first significant professional stage role and was certainly the most challenging acting job of my career up to that point. There were emotional moments I knew I had to land (that’s code for “it would help if you could shed real tears here”), the largest audience I had ever performed in front of (about 350 - it was not Broadway, but it’s all relative) and a talented, experienced lead actor I was working alongside (she was so damn confident). During rehearsals, I began to feel overwhelmed; I struggled to make choices, felt lost on stage, and then suffered every actor’s worst nightmare. I forgot my lines. It’s hard to put into words what that feels like. You start having a panic attack in front of paying customers, who think it might be part of the play until it goes on weirdly too long, and then…they know.) So, I went to a former professor for guidance. He stopped by a rehearsal at my request. After watching an hour of my floundering on stage, he pulled me aside and said, “You need to shrink your circle of attention.” It was a lightbulb moment. Of course! Shrink my circle!

Stanislavski said there are three Circles of Attention in acting:

1. First Circle - Solitude in Public
Your attention stays inward. You focus on what is happening internally, working to connect to the character’s wants and needs and how they make them feel at the time.
2. Second Circle - Conversational
Your attention broadens to include one or two people you interact with. You focus on them. They feel seen and heard, and the exchange of energy is palpable.
3. Third Circle - The Whole World
Your attention expands to include everyone and everything. The entire cast, the plot, the environment, and the audience. You should engage with all of it as your character navigates whatever situation the playwright has placed them in.

I had begun those rehearsals in the Third Circle - before I had taken care of business in the First Circle. I needed to connect with my character, her values, wants, needs, and emotions. It isn’t easy to operate successfully in the Second or Third Circles if you don’t have a good handle on what’s happening in the First Circle. (are you dizzy yet?)

I went into the next day’s rehearsal with the new strategy. I shrank my circle. I found my character! (And my lines.)

The Little Foxes by Lillian Hellman. I played Birdie (that’s me over there on the couch) added pressure; I had to live up to the dress.

The reality of today’s world for me is that the Third Circle, “the whole world” includes a growing and relentless barrage of information, misinformation, images, extreme situations, fear, uncertainty and frivolous interactions, all competing for our attention. Many go to great lengths to capture it. It’s not sustainable. And I’m starting to feel a little overwhelmed. Getting worried I might forget my lines. So, I’ve decided to shrink my circle. I need to reconnect …with myself.

I want to turn down the “noise” so I can hear my truth, disregard the “meaningless”, and eliminate “the waste” so I can find what’s real. And finally, I’d want to adjust my focus to gain some perspective. All in an effort to become diligent and intentional about how I allocate my most precious resources: time and attention.

When I decide to move into the Second Circle, I’ll be more present in my relationships. When I’m back in “the whole world” (Third Circle) I will be a constructive and meaningful part of the rebuilding. (I like diagrams and plans, can you tell?) I see the limitations and flaws - hard to implement “in the real world” etc… But it’s a starting point. It’s a plan.

This plan is not revelatory. Many of us feel overwhelmed, and many of us know what to do, in a general sense, for relief. But I’m a visual, hands-on learner. And I enjoy specificity. Applying an acting lesson I learned years ago dialed it in for me. I got it. So, I thought I would share. Maybe shrinking your circle will resonate.

Stanislavki’s Method has been taught in as many ways as there are teachers. (acting is not math). If you want to learn more about the Circles of Attention, I recommend you go straight to the source. An Actor Prepares by Konstantine Stanislavski.