Stanislavsky: «Our demands are simple, normal, and therefore they are difficult to satisfy. All we ask is that an actor on the stage live in accordance with natural laws».
2009 : new : total actor & total director
... two types of directors: exceptions and the rest.
Chapter DIRECTOR in acting2 [biomechanics]
Peter Brook: «We are aware that the conductor is not really making the music, it is making him -- if he is relaxed, open and attuned, then the invisible will take possession of him; through him, it will reach us».
Lion King Tickets
Odd Couple Tickets
Director Page in Directing Directory "Matrix"
Okay, kids, in order for you to understand directors, you must know something about directing. About "directions"...
The director's job should be to open the actor up and, for God's sake, leave him alone! Dustin Hoffman
SummaryPlease, please, consider "director" as your own inner voice!
QuestionsWhat is the main resposibility of Director? Actor?
* one act fest
The Possessed 2003
2004-2005 textbook for Acting One
Script Analysis Actor:
Theatre Books Master Page *
Method Acting * Stanislavsky on Stanislavsky Terminology *
SMELIANSKY: There is a difference in theater mentality between the United States and Russia. In the States, theater is, first of all, literature - words - and then interpretation. In Russia, it is much more a delicate balance between directing and playwriting - because of Meyerhold, Stanislavsky, Vakhtangov and other great Russian directors.
In America it would be difficult to say who is the director. The director is someone who says: "Come from that door, go out that door, put some light there." The director in Russia is an artist at least equal to a playwright. Frankly speaking, we have a deficit of directors today. In the history of the Moscow Art Theater School during 60 years, we have only had a directors' program two times. I'm inviting Fokin, from the Meyerhold Center, to help cultivate Meyerhold's tradition at the Moscow Art Theater School, which is traditionally an acting school. Without directors, the education of contemporary actors is pointless. Actors and directors should train together every year. If you have even two or three great directors in five years it is an event of national importance for our theater.
Remember Meyerhold's formula for Actor? Actor = Creator + Medium -- who is this "creator" in you? Yes, yes, director! So, "Actor = Director + Actor"? There are no actors without this "inner" director in them? None.
[ I'll come back to explain how to develop this "mini-director" in you! ]
... You're only as good as your actors! -- Yes, bad actors need directors. Good directors love good actors. Bad directors -- is it better than no directors?
Editing: from page to stage.
Breakdowns: play and character analysis.
BioMX (Theatre Biomechanics)
What is director for you, Mr. Actor? I am your first SPECTATOR! Why am I first? Because I am the best spectator you can hope for! I am a professional spectator!
Dionysos: Follow your feelings!...
Apollo: Follow your thought!
Meyerhold: Director is everything!
Stanislavsky: Director must die in actors!
What are the given circumstances of the monologue?
What are the actor's choices and the actor's objective in creating the character (and the monologue)?
What notes do you - the director - give for:
personalizing the role
emotional / emotion memory
the voice and embodiment at position
What is the subtext?
What notes do you - the director - give on concentration on the 'imaginary object'?
Ditto for creating the 'play environment' for the monologue?
You can also write your own script, if you wish, but you must check with your teacher that it meets the technical requirements of the exercise.
The number of the words in your script (if you write one yourself) should be the same as in the examples below.
You must understand and check the cultural references in the scripts with your teacher.
Size (the number of words in the scripts below) is not important as each script has to meet the demands of the exercise.
Your creative notes
At a run or to break into sequences?
How to rewrite the script
Your objectives at every point of the production
Your choices and being open to actors' choices. How to select choices creatively and in the collective.
Keeping to a tight time schedule
Make sure everybody marks up their script
Ensure that there is a clear cueing system for the Cubicle and the Studio
Effectively and creatively ensure that you are in charge
What you do:
Mark up your script with your notes and following the notes given by your Director, etc.
Think through your choices and objectives
Be prepared for 'popping' problems.
This is 'interiorising', the voice of the mind. Use your imaginative choices for the character.
What are the given circumstances of the monologue?
What are my objectives through the monologue?
What are my choices for each objective?
You have two objects of concentration. Both are imaginary objects of concentration. The first is the interiorising focus, the chakra point on your forehead, mid between your eyebrows. Focus on that, talk 'in your interior' to that. Meditate on that.
The second imaginary object of concentration relates to each of your objectives. Choose an object, and then a sensory detail, from each of the objects.
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
The eleven styles.
Must have a plan.
A "theater" full of principles dealing with the audience.
An actor or a director should definitely follow and learn the list on scene analysis.
scene : Do all your planning, work it out, learn the words and then step off into space.
* Never do anything without a plan!
... Remember, I ask you to know the basics: Conflict * Objective * Obstacle * Actions * Choice * Given Circumstances *
Part III. Space-in-Time = Chronotope [ structuralism + formalism + theory ]
Film-North * Anatoly Antohin * eCitations *
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