Tempo & Rhythm Part 1: Awareness
[This article is part of a series about how to craft an intentional life using ideas and tools from Constantin Stanislavski’s acting system for working on our inner motive forces. Previous article: Emotion Memory Part 2: Shaping]
In previous articles, I discussed our senses and how they bring to life our emotions. Here, I explore how movement and action do the same. Movement has sensory components. Many theorists consider kinaesthesia and equilibrioception as additional senses to hearing, vision, smell, taste and touch.
“Wherever there is life, there is action; wherever action, movement; where movement, tempo; and where there is tempo there is rhythm.” (Constantin Stanislavski, Building a Character)
In music, tempo is the speed of a piece. It is measured in beats per minute (BPM). It is worth noting that tempo descriptions often refer to mood as well as speed, e.g. allegro means fast but also joyful; grave means slow but also solemn.
Rhythm is a repeated pattern of sounds or movement over time. Together, they are a core part of our sense of physicality. These are as strongly connected to our emotions as the other senses. Consider how a piece of music can change your mood, or how moving your body can make you happy, and the effect of tempo-rhythm on our emotions becomes obvious.
Stanislavski went even further. He considered tempo-rhythm to be the most direct connection we have to our emotions:
“There is an indissoluble interdependence, interaction and bond between tempo-rhythm and feeling and, conversely, between feeling and tempo-rhythm. If you will examine closely what I am saying you will realise the full extent of what we have discovered. It is extraordinarily important. We are considering the effect, direct or often only mechanical, of external tempo-rhythm on our capricious, arbitrary, intractable, shy feelings; on those feelings subject to no commands, frightened off by the least exhibition of force into the inaccessible well springs of our beings, those same feelings which up to now we have succeeded in affecting only by indirect, magnetic means. Here suddenly we find a direct, an immediate approach!” (Constantin Stanislavski, Building a Character).
Stanislavski took the concept further: he considered tempo-rhythm to be an inner or psychological mechanism as well as an outer or physical one. Our thoughts, dreams and emotions move through us with their own tempo and rhythm:
“Listen to how your emotions tremble, throb, race, are stirred inside you. In these invisible movements lie hidden all manner of rapid and slow beats, hence tempi and rhythms. Every human passion, every state of being, every experience has its tempo-rhythms…
Every fact, every event takes place inevitably in its corresponding tempo-rhythm. For example, a declaration of war, a solemn gathering, the reception of a deputation— each requires its own tempo and rhythm. If they do not correspond to what is going on an absurd impression is easily produced. Imagine that instead of the usual stately progress we see the Imperial couple drive to their coronation at a hectic gallop…In brief there is some kind of tempo-rhythm inherent in every minute of our inward and outward existence.” (Ibid)
In the latter part of the above quotation, Stanislavski talks about how tempo-rhythms can be at odds with each other and how jarring that can be. In the same way, inner and outer tempo-rhythms can be at odds within us. For example, if I am feeling sad but have to attend a party or a meeting, I may act as if I am happy. Even if I succeed at concealing my inner mood from others, I will be aware of the dissonance within me. If someone were watching me closely, they might be aware of this dissonance, from small cues that escape my control - clasped or wringing hands, staring into space when not engaged.
We can use this dissonance to change our inner tempo-rhythms and thus affect our emotions. Dissonance is uncomfortable. It causes cognitive conflict and we will unconsciously or consciously try to remove or change the source of conflict. In the above example, sometimes putting on a brave face changes one’s inner mood and the lie becomes the reality. This hints at how we can use tempo-rhythm to influence our emotions.
The following exercises explore tempo-rhythm as we find it in ourselves and our circumstances.
The breathing exercise is a simple example of how working on tempo-rhythm can affect emotions. In the next chapter, Tempo & Rhythm Part 2: Influence, I explore how we can use tempo-rhythm to change our emotions and internal imagery.
In previous articles, I discussed our senses and how they bring to life our emotions. Here, I explore how movement and action do the same. Movement has sensory components. Many theorists consider kinaesthesia and equilibrioception as additional senses to hearing, vision, smell, taste and touch.
- Kinaesthetic or proprioceptive sense is how we feel our bodies: the position and movement of our limbs and muscles, our sense of effort or force applied in any action.
- Equilibrioception is our sense of balance and spatial orientation, so is a combination of a sense of ourselves and our environment.
“Wherever there is life, there is action; wherever action, movement; where movement, tempo; and where there is tempo there is rhythm.” (Constantin Stanislavski, Building a Character)
What is tempo-rhythm?
Think about how you feel physically when you are rushing because you are late for a meeting compared to when you are reading a book or watching a movie on the couch. If you were to put music to these two activities, how would it differ? I imagine the first piece would be energetic and agitated and the second would be slow and peaceful. Tempo-rhythm speaks to this difference.In music, tempo is the speed of a piece. It is measured in beats per minute (BPM). It is worth noting that tempo descriptions often refer to mood as well as speed, e.g. allegro means fast but also joyful; grave means slow but also solemn.
Rhythm is a repeated pattern of sounds or movement over time. Together, they are a core part of our sense of physicality. These are as strongly connected to our emotions as the other senses. Consider how a piece of music can change your mood, or how moving your body can make you happy, and the effect of tempo-rhythm on our emotions becomes obvious.
Stanislavski went even further. He considered tempo-rhythm to be the most direct connection we have to our emotions:
“There is an indissoluble interdependence, interaction and bond between tempo-rhythm and feeling and, conversely, between feeling and tempo-rhythm. If you will examine closely what I am saying you will realise the full extent of what we have discovered. It is extraordinarily important. We are considering the effect, direct or often only mechanical, of external tempo-rhythm on our capricious, arbitrary, intractable, shy feelings; on those feelings subject to no commands, frightened off by the least exhibition of force into the inaccessible well springs of our beings, those same feelings which up to now we have succeeded in affecting only by indirect, magnetic means. Here suddenly we find a direct, an immediate approach!” (Constantin Stanislavski, Building a Character).
Inner and outer tempo-rhythm
Tempo-rhythm as defined above is an external phenomenon. Everything we do has its own tempo-rhythm, including speaking and conversation. Think about when you’ve been part of an animated discussion or argument compared to desultory conversation over coffee in the morning or a heart-to-heart with a loved one. Even when we are not moving or speaking, there is a tempo-rhythm to our inaction - one could be fidgeting and nervous, or relaxed and lazy.Stanislavski took the concept further: he considered tempo-rhythm to be an inner or psychological mechanism as well as an outer or physical one. Our thoughts, dreams and emotions move through us with their own tempo and rhythm:
“Listen to how your emotions tremble, throb, race, are stirred inside you. In these invisible movements lie hidden all manner of rapid and slow beats, hence tempi and rhythms. Every human passion, every state of being, every experience has its tempo-rhythms…
Every fact, every event takes place inevitably in its corresponding tempo-rhythm. For example, a declaration of war, a solemn gathering, the reception of a deputation— each requires its own tempo and rhythm. If they do not correspond to what is going on an absurd impression is easily produced. Imagine that instead of the usual stately progress we see the Imperial couple drive to their coronation at a hectic gallop…In brief there is some kind of tempo-rhythm inherent in every minute of our inward and outward existence.” (Ibid)
In the latter part of the above quotation, Stanislavski talks about how tempo-rhythms can be at odds with each other and how jarring that can be. In the same way, inner and outer tempo-rhythms can be at odds within us. For example, if I am feeling sad but have to attend a party or a meeting, I may act as if I am happy. Even if I succeed at concealing my inner mood from others, I will be aware of the dissonance within me. If someone were watching me closely, they might be aware of this dissonance, from small cues that escape my control - clasped or wringing hands, staring into space when not engaged.
We can use this dissonance to change our inner tempo-rhythms and thus affect our emotions. Dissonance is uncomfortable. It causes cognitive conflict and we will unconsciously or consciously try to remove or change the source of conflict. In the above example, sometimes putting on a brave face changes one’s inner mood and the lie becomes the reality. This hints at how we can use tempo-rhythm to influence our emotions.
The following exercises explore tempo-rhythm as we find it in ourselves and our circumstances.
Exercise: observing tempo-rhythm
This exercise involves observation and is about becoming aware of tempo-rhythms within and around us.Self-observation
Pause and observe yourself several times a day.- What are you doing? Are you moving or still?
- Can you feel a rhythm or beat to your actions? If you are not moving, can you still feel this? Use your heartbeat as a guide. It is the most obvious source of tempo-rhythm within us.
- What is your mood? Is there a correspondence between your mood and your tempo-rhythm? Usually a sad, solemn or contented mood means a slower tempo-rhythm; anger, anxiety or happiness often come with a faster tempo-rhythm.
Note how your tempo-rhythm changes throughout the day.
Repeating either a few times induces a state where you start to feel positive or perturbed. The muscle memory from these breathing patterns triggers emotions.
- How does this correspond to the world around you and what you are doing?
- How does this correspond to your mood?
- How do your mood and your external actions compare?
- Are you aware of multiple tempo-rhythms at the same time? Are they conflicting or synergistic?
Observing others
Observe the world around you- Choose different circumstances - at home, on the street, at work, in a restaurant or club, on a beach, at the gym.
- What is the energy like around you? What is happening - the sounds, lighting, people and activities?
- How would you define the tempo-rhythm of the scene? What are the cues that suggest the tempo-rhythm?
Observe other people
- Sit in a restaurant or bar, go into a shop, sit in a park, or stroll on an urban street and watch people.
- What are they doing? Note their body language.
- Are they alone or with someone. Are they talking or listening?
- What is their outer tempo-rhythm? If you had to put it to music, what would you choose?
- What cues do you have about their inner tempo-rhythm?
- Does there seem to be a synchrony or dissonance between inner and outer tempo-rhythms? How can you tell? What physical details reveal their possible inner tempo-rhythm and the outer?
- Think about what you would be feeling or doing if you had this person’s inner or outer tempo rhythm.
Exercise: breathing
This exercise is taken from The Complete Stanislavski Toolkit by Bella Merlin. It is about becoming aware of the tempo-rhythm of breathing, and how it affects emotions. Breathing is a basic rhythm of life.- Breathe out 3 times and breathe in once. Repeat that sequence 3 times.
- Does this breathing pattern evoke any feelings?
- Now do the opposite: breathe in 3 times and breath out once. Repeat 3 times.
- Does this breathing pattern evoke any feelings? How are the effects different to the previous?
Repeating either a few times induces a state where you start to feel positive or perturbed. The muscle memory from these breathing patterns triggers emotions.
What is the point?
These simple exercises continue previous work in developing the habit of paying attention to our senses, adding movement into the mix. By observing tempo-rhythms in ourselves, others and our mutual circumstances, and thinking about how these affect us emotionally, we enhance our experience of the world and gain influence over how we react to it.The breathing exercise is a simple example of how working on tempo-rhythm can affect emotions. In the next chapter, Tempo & Rhythm Part 2: Influence, I explore how we can use tempo-rhythm to change our emotions and internal imagery.
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