Constantin Stanislavski taught his actors to image their part and the circumstances of the play. In his method the actor has imagined his part  and how it will play out prior to taking the stage. This imaging concept also holds true for for trials. Edited for trials Stanislavski teaches:

First, we must have an unbroken series of supposed circumstances in which our trial will develop. Second, we must have a solid line of inner visions bound up with the supposed circumstances, so we have a picture in our mind of the trial playing out. During every moment of the development of the trial, we must be aware of either the external circumstances  which surround the trial, or of the inner chain of circumstances which we have imagined to illustrate the case.

Through imaging we arrive at an unbroken series of pictures of the trial-sort of like our personal movie. As long as we trust our self and our case instinct the trial will unfold similar to our inner vision. As the trial unfolds our  inner vision creates a corresponding mood which arouses emotion in the jury.

Constantin Stanislavski, An Actor Prepares, (Translated by Elizabeth Reynolds Hapgood) (1936).

What this means is  before the trial begins, we must image every phase of the trial. This includes pre-trial motions,  jury selection, opening statement, direst and cross examination, introduction of documentary evidence and closing argument. By doing this we internalize each phase of the trial. We feel each phase  of the trial because we create the inner vision (personal movie) of  the trial.

Of course we know from experience  the trial may take turns different from our inner vision. Stanislavski recognizes this when he teaches we must always be aware of the external circumstances of the trial. Here we must trust our case preparation, believe in ourself, accept the turns the trial takes, roll with the turns, and never quit on our inner vision.

Lesson Two-Create an Inner Vision.

A couple of years ago I attended an engaging continuing legal education seminar featuring graduates of  The Gerry Spence Trial College. They discussed the importance of being true to your feelings, of living without pretense, of being spontaneous and natural. At the trial college they practice “psychodrama” to assist in getting to the real self which is essential for trial advocacy.

That evening I went to the book store to find the source of “psychodrama.”  At the book store I did not find anything on “psychodrama,” but I did find works by the great Russian actor, director, and acting teacher- Constantin Stanislavski.  The Stanislavski works caused me to remember an article I read years ago in Litigation Magazine titled “Stanislavski in the Courtroom.”

The arthur discussed Stanislavaki’s concepts of Imaging, Emotional Memory, and Commitment to Truth. She discussed how Stanislavski’s theories when practiced lead to a higher form of advocacy.  I then began studying Stanislavski.

From studying  Stanislavaki’s method I see how it applies to more than theatre. It applies to sincerity and the elimination of a plastic persona. It applies to  getting in touch with emotions and living at a higher level. It applies to being able to try cases and perform in any endeavor  relating to groups at the highest level. In the next series of posts we discuss Stanislavaki’s method  as in relates to trial work and beyond. These posts are under the Category “Stanislavski in the Courtroom.”

Truthfulness

The first and foremost rule is truthfulness, meaning  honesty at all times. Do away with phoniness, pretense, and the desire to act in a way to please others. Truthful expression comes from the heart. With honest expression there is no doubt. Honest expression causes sincerity in voice, facial expression, and body language. The listener picks this up.

Truth, which is usually simple and straightforward, is inviting to the listener. When truth embraces your whole being it has a way of sinking deeper and deeper into the listener’s mind to the point it reaches the subconscious mind of the listener. This invokes positive emotions in the listener. This creates an unconsciousness bond between speaker and listener.

The opposite occurs when an agenda, pretense, or phoniness is involved- a plastic rehearsed from the mind alone message. Here tone of voice, facial expression and body language tell the listener this is a surface message, a message calculated to convince, and it is not the truth. The listener’s conscious mind quickly picks this up. If the message gets to the listener’s unconscious mind, which is doubtful, a gut reaction against the message occurs. Either way it is processed “this is phony.”

Lesson Number One- An argument built on truth will grow, but one built on pretense will shrivel.