I never said all actors are cattle; what I said was all actors should be treated like cattle. - Alfred Hitchcock
Lion King Tickets
Odd Couple Tickets
Use The Importance of Being Earnest (Oscar Wilde Online) for class monologues and scenes!
THR121 Fundamentals of Acting
THR221 Intermediate Acting: Biomechanics
THR321 Advanced: Method
GeoAlaska: Theatre & Film
Forums: Realism & Method, Comedy & Biomechnics
We do not offer Advanced Acting II and Advanced Directing (replaced with the senior thesis); contact your advisor.
: days 'til the year 2007! Work!
Method for Directors?
ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
prof. Anatoly Antohin Theatre UAF AK 99775 USA
Method: Yoga & Freud
Summary"The first time theatre truly freed itself from religious ritual to become an art form was in Greece in the 6th century BC when the dithyramb was developed. This was a form of choral song chanted at festivals in honour of Dionysus , the god of wine, fruitfulness, and vegetation. Originally, it celebrated his rejuvenation of the earth; later, it drew on Homeric legends... " (Britannica) Get Dionysus with you to auditions! When you get back to rehearsals -- call Apollo.
QuestionsWhat about "cast" of this drama you call "Pre-Acting"? Gods, teachers and masters, ET?
* one act fest
NotesRead Typecasting Page.
Shake 2004: Bianca Story
2004-2005 textbook for Acting One
[ I'll find this lost webpage with Meyerhold's typecasting breakdown. Nothing wrong with it, it was in practice from the beginning of time. Tragic type, comic character, hero and so on. ]
Do not confuse your partners; you should know when Apollo (the Greek and Roman god of sunlight, prophecy, music, and poetry) rules and when gives you in hands of Dionysus. They both are present and both are jelous -- you should know that they are here, when you perform. If you ignore them, you will be panished. Did you I tell that cting is reacting -- well you have to react to them,gods of theatre. First thing they ask from you is to be yourself. You can't become the Other, if you are not yourself. If you are should, don't pretend that you are tall. If you are young, this is where you have to start. If you playing games with yourself, you have no time to play other. Besides, our gods will never forgive you for not know who you are. The truth on stage bigins with your acceptance of yourself.
Simple? All complex things start with the simple rules.
Let us pour a libationKnow Yourself and Nothing to Excess were emblazoned on his temple at Delphi. He even brought the muses down from their home on Mt. Helicon to Delphi, tamed their wild frenzy, and taught them formal and decorous dances...
to the muses, daughters
Of Memory, and to Leto's
Son, their Lord Apollo.
If only actors could understand the director's mind... or at least get the idea of concept. Very often I would like to cast one actor, but select another, because he does fit the director's design for the show (style & etc.)
[ read biomechanics.vtheatre.net and method.vtheatre.net pages ]
2008 - acting2
Lesson #60 or 90 min
3. new key terms & definitions (see dictionary)
4. monologues & scenes
5. issues & topics
6. questions, discussion, analysis
7. in class work
9. improv & games
12. online, journals
Question: Can I break away from this "my type"? Of course, you can! And you should. But not in denial!
Use your journal for reflections!
Sorry this is a bit incomplete in spots, I realized I didn't have all the information I should for some productions. Date--Role--Show--Director--Locale/Troupe CURRENT PROJECTS DON JUAN in Moliere's DON JUAN. Directed by Anatoly Antohin. Theatre UAF. PAST EXPERIENCE November 2002. KINESIAS in Aristophanes' LYSISTRATA. Directed by Tom Riccio. Theatre UAF. February 2002. LENNY in Neil Simon's RUMORS. Directed by Jon Jorgenson. Pistarckle Theatre, St. Thomas, USVI. November 2001. CREON in Sophocles' OEDIPUS REX. Directed by Michael Prenevost. UVI Theatre, St. Thomas, USVI. June 2001. WHITE HAT/SANTA CLAUS/OTHER ROLES in PIPEDREAMS. Directed by Tom Riccio. Fairbanks Drama Association. February 2001. BILLY/JERRY/PILGRIM in Tom Riccio's YAHOO NATION. Directed by Tom Riccio. Theatre UAF. November 2000. EBEN in Eugene O'Neill's DESIRE UNDER THE ELMS. Directed by Kate Whoriskey and Fernando Nogueira. Perseverance Theatre, Juneau, AK. April 2000. FABIAN in Shakespeare's TWELFTH NIGHT. Directed by Anatoly Antohin. Theatre UAF. February 2000. JEAN in August Strindberg's MISS JULIE. Directed by Tracy Campbell. Theatre UAF. November 1999. BARON TUZENBAKH in Anton Chekhov's THREE SISTERS. Directed by Anatoly Antohin. March/April? 1999. QUENTIN in Arthur Miller's AFTER THE FALL. Directed by Mandy Whitlock and Alicia Tadema. Samuel Clemens High School, Schertz, TX. January 1999. BORIS KOLENKHOV in Moss & Hart's YOU CAN'T TAKE IT WITH YOU. Directed by Mandy Whitlock and Alicia Tadema. Samuel Clemens High School. October 1998. WENDLE WEEDLE in ???????'s MURDER AT RUTHERFORD HOUSE. Directed by Whitlock & Tadema. Samuel Clemens High School. March/April? 1998. JACK CHESNEY in Brandon Thomas' CHARLEY'S AUNT. Directed by Sandy Schneider. Samuel Clemens High School. October 1997. FASSBENDER in ???????'s PINK PANTHER STRIKES AGAIN. Directed by Sandy Schneider. Samuel Clemens High School. April 1997. JEFFREY in GODSPELL. Directed by Richard Farshler. Dixon High School, Dixon, CA. February 1997. FRIAR LAURENCE in Shakespeare's ROMEO & JULIET. Directed by Clark Adams. Dixon High School. February 1996. KNAVE in ???????'s ALICE IN WONDERLAND. Directed by ???????. Dixon High School.
Film-North * Anatoly Antohin * eCitations *
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