Theatre Biomechanics with Anatoly Three -- Storytelling

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2008 -- "After the Midterm"

... "class project" [finals]

BM acting *

Acting:

Elia Kazan: «You've got to keep fighting; you've got to risk your life every six months to stay alive».

film acting:

stanislavsky.us

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Spring 2003 * THR221 Intermediate Acting TU, TR 9.45-11.15 * Acting One

Fundamentals : BioMethod

* The Images (The Album) are still not all in place! [new from vTheatre -- GeoAlaska, links to my graphic files are in the list minipages]

virtual theatre Textbook Part V. -- [ when III and IV ? ]

New : 2003: Film600: Bad Theories, Wrong Subjects
2005: total directing & total acting
2008 : t-blog + beta.vtheatre.net online?

Summary

Noh Theatre masks (overview of part III):

Five types:

Aged
Male
Female
Deities
Monsters

Commedia Masks

The Greeks

Part III. Images [ Mask and/or Jung ] to STORYTELLING (through WORLd of the PLAY analysis) -- textbook

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* one act fest Last weeks (end of the semester, preview of Acting III before finals): we have to jump to Method, at least to some method acting ideas (Subtext, for example).

Notes

The acting area is the area within the theater where the action takes place. (Assigning meaning to "Empty Space")

"Storytelling" (part 5) in "5 Approaches to Acting" textbook, but I thought that it's important to stress the idea of "story" for actors (Aristotle's first priciple -- action). For them character (second principle) is the story they have to tell.

Michael Chekhov

2007 -- March Winter Shorts (Acting analysis papers)

Final Scenes with THR331 Directing class ***

...

index * BM1 * BM2 * BM3 * BM4 * * 200X * Film Dir * Books * Theatre w/Anatoly * SHOWs * Script Analysis * Acting 101 * Directing * Russian-American Theatre (RAT) * Classes * VIRTUAL THEATRE * Plays * Anatoly's Blog *

BM Acting Three: "Storytelling" (Images & Story)

2004: 2007
Lesson 9:
Lesson 10:
Lesson 11:
Lesson 12:

In the old directory this part 3 was called "Showcases" -- but I think it should be named "Class Project" (the last part of the semester, when we develop a min-show, something like Dada before -- "Fish in the Tree"). Finals are (always) public presentations (free).
[ Textbook -- III + IV + Part V. Telling a Story (225) ]
Spring 2004: The Bianca Story (subplot in The Taming of the Shrew), to be filmed with my film directing and intermediate acting classes.
MEYER: Anatoly, what are you struggling with? [ "Meyer" or "Master" I use for fictional texts, "Meyerhold" -- for actual quotes. ]
Anatoly: With you, Master.
Meyer: Why, my boy?
Anatoly: Too many things are not established, introduced, explained... Too many...
Meyer: This is your damn Internet, your webbing! I don't understand this obsession with electronic, what a stupid word, pages -- write the old fashion way, man!
Anatoly: I can't, sir. It's only now they look like "pages," soon it will be like theatre, when you can see it all...
Meyer: How soon? Century, two?
Anatoly: Sooner. And this is the true medium for your biomechanics. It has to a spectacle, show... Theatre lived through dramatic texts for too long. This is your sentiment, right?
Meyer: All right, all right, I have time.
...
...

Structure Your Physical Action! Sorry, not long ago this directory was nothing but templates; I still place graphics and links in hope to organize it later...
theo-act
[ "theory pages" cripping again into my instructional space... ]
{ Spring 2004 -- Scenes in class + Film Acting )

* Applying both, Method and BM, in scene studies (SS). Do they, students, know when to turn the switch?

Lesson #

60 or 90 min

1. review (previous class)

2. overview

3. new key terms & definitions

4. monologues & scenes

5. issues & topics

6. questions, discussion, analysis

7. in class work

8. feedback

9. improv & games

10. reading

11. homework

12. online, journals

13. quiz

Links

homework

Class Project (after the midterm)

Chekhov, Ibsen, Shakespeare

Actingland.com - Acting resources, career guides, and casting information.

Homework

Your scene must be rehearsed outside of our class time -- with your partner(s) and student-director.

Read acting for the camera pages in advance: Actors in Film Directing, Film in BM and Camera in Method Acting.

Your character development is YOUR responsibility! Your grade.

Character IS the story! Your story!

[ from BM to Method, in class Pygmalion, end of Act IV ]

HIGGINS [Over his shoulder, at the door] Put out the lights, Eliza; and tell Mrs. Pearce not to make coffee for me in the morning: I'll take tea. [He goes out]. Eliza tries to control herself and feel indifferent as she rises and walks across to the hearth to switch off the lights. By the time she gets there she is on the point of screaming. She sits down in Higgins's chair and holds on hard to the arms. Finally she gives way and flings herself furiously on the floor raging. HIGGINS [in despairing wrath outside] What the devil have I done with my slippers? [He appears at the door]. LIZA [snatching up the slippers, and hurling them at him one after the other with all her force] There are your slippers. And there. Take your slippers; and may you never have a day's luck with them! HIGGINS [astounded] What on earth—! [He comes to her]. Whats the matter? Get up. [He pulls her up]. Anything wrong? LIZA [breathless] Nothing wrong—with y o u. Ive won your bet for you, havnt I? Thats enough for you. I dont matter, I suppose. HIGGINS. Y o u won my bet! You! Presumptuous insect! I won it. What did you throw those slippers at me for? LIZA. Because I wanted to smash your face. I'd like to kill you, you selfish brute. Why didnt you leave me where you picked me out of—in the gutter? You thank God it's all over, and that now you can throw me back again there, do you? [She crisps her fingers frantically]. HIGGINS [looking at her in cool wonder] The creature i s nervous, after all. LIZA [gives a suffocated scream of fury, and instinctively darts her nails at his face] !! HIGGINS [catching her wrists] Ah! would you? Claws in, you cat. How dare you shew your temper to me? Sit down and be quiet. [He throws her roughly into the easy-chair]. LIZA [crushed by superior strength and weight] Whats to become of me? Whats to become of me? HIGGINS. How the devil do I know whats to become of you? What does it matter what becomes of you? LIZA. You dont care. I know you dont care. You wouldnt care if I was dead. I'm nothing to you—not so much as them slippers. HIGGINS [thundering] T h o s e slippers. LIZA [with bitter submission] Those slippers. I didnt think it made any difference now. A pause. Eliza hopeless and crushed. Higgins a little uneasy. HIGGINS [in his loftiest manner] Why have you begun going on like this? May I ask whether you complain of your treatment here? LIZA. No. HIGGINS. Has anybody behaved badly to you? Colonel Pickering? Mrs. Pearce? Any of the servants? LIZA. No. HIGGINS. I presume you dont pretend that I have treated you badly. LIZA. No. HIGGINS. I am glad to hear it. [He moderates his tone]. Perhaps youre tired after the strain of the day. Will you have a glass of champagne? [He moves towards the door]. LIZA. No. [Recollecting her manners] Thank you. HIGGINS [good-humored again] This has been coming on you for some days. I suppose it was natural for you to be anxious about the garden party. But thats all over now. [He pats her kindly on the shoulder. She writhes]. Theres nothing more to worry about. LIZA. No. Nothing more for y o u to worry about. [She suddenly rises and gets away from him by going to the piano bench, where she sits and hides her face]. Oh God! I wish I was dead. HIGGINS [staring after her in sincere surprise] Why? in heaven's name, why? [Reasonably, going to her] Listen to me, Eliza. All this irritation is purely subjective. LIZA. I dont understand. I'm too ignorant. HIGGINS. It's only imagination. Low spirits and nothing else. Nobody's hurting you. Nothing's wrong. You go to bed like a good girl and sleep it off. Have a little cry and say your prayers: that will make you comfortable. LIZA. I heard y o u r prayers. "Thank God it's all over!" HIGGINS [impatiently] Well, dont you thank God it's all over? Now you are free and can do what you like. LIZA [pulling herself together in desperation] What am I fit for? What have you left me fit for? Where am I to go? What am I to do? Whats to become of me? HIGGINS [enlightened, but not at all impressed] Oh, thats whats worrying you, is it? [He thrusts his hands into his pockets, and walks about in his usual manner, rattling the contents of his pockets, as if condescending to a trivial subject out of pure kindness]. I shouldnt bother about it if I were you. I should imagine you wont have much difficulty in settling yourself somewhere or other, though I hadnt quite realized that you were going away. [She looks quickly at him: he does not look at her, but examines the dessert stand on the piano and decides that he will eat an apple]. You might marry, you know. [He bites a large piece out of the apple, and munches it noisily]. You see, Eliza, all men are not confirmed old bachelors like me and the Colonel. Most men are the marrying sort (poor devils!); and youre not bad-looking; it's quite a pleasure to look at you sometimes—not now, of course, because youre crying and looking as ugly as the very devil; but when youre all right and quite yourself, youre what I should call attractive. That is, to the people in the marrying line, you understand. You go to bed and have a good nice rest; and then get up and look at yourself in the glass; and you wont feel so cheap. Eliza again looks at him, speechless, and does not stir. The look is quite lost on him: he eats his apple with a dreamy expression of happiness, as it is quite a good one. HIGGINS [a genial afterthought occurring to him] I daresay my mother could find some chap or other who would do very well. LIZA. We were above that at the corner of Tottenham Court Road. HIGGINS [waking up] What do you mean? LIZA. I sold flowers. I didnt sell myself. Now youve made a lady of me I'm not fit to sell anything else. I wish youd left me where you found me. HIGGINS. [slinging the core of the apple decisively into the grate] Tosh, Eliza. Dont you insult human relations by dragging all this cant about buying and selling into it. You neednt marry the fellow if you dont like him. LIZA. What else am I to do? HIGGINS. Oh, lots of things. What about your old idea of a florist's shop? Pickering could set you up in one: hes lots of money. [Chuckling] He'll have to pay for all those togs you have been wearing today; and that, with the hire of the jewellery, will make a big hole in two hundred pounds. Why, six months ago you would have thought it the millennium to have a flower shop of your own. Come! youll be all right. I must clear off to bed: I'm devilish sleepy. By the way, I came down for something: I forget what it was. LIZA. Your slippers. HIGGINS. Oh yes, of course. You shied them at me. [He picks them up, and is going out when she rises and speaks to him]. LIZA. Before you go, sir— HIGGINS [dropping the slippers in his surprise at her calling him Sir] Eh? LIZA. Do my clothes belong to me or to Colonel Pickering? HIGGINS [coming back into the room as if her question were the very climax of unreason] What the devil use would they be to Pickering? LIZA. He might want them for the next girl you pick up to experiment on. HIGGINS [shocked and hurt] Is t h a t the way you feel towards us? LIZA. I dont want to hear anything more about that. All I want to know is whether anything belongs to me. My own clothes were burnt. HIGGINS. But what does it matter? Why need you start bothering about that in the middle of the night? LIZA. I want to know what I may take away with me. I dont want to be accused of stealing. HIGGINS [now deeply wounded] Stealing! You shouldnt have said that, Eliza. That shews a want of feeling. LIZA. I'm sorry. I'm only a common ignorant girl; and in my station I have to be careful. There cant be any feelings between the like of you and the like of me. Please will you tell me what belongs to me and what doesn't? HIGGINS [very sulky] You may take the whole damned houseful if you like. Except the jewels. Theyre hired. Will that satisfy you? [He turns on his heel and is about to go in extreme dudgeon]. LIZA [drinking in his emotion like nectar, and nagging him to provoke a further supply] Stop, please. [She takes off her jewels]. Will you take these to your room and keep them safe? I dont want to run the risk of their being missing. HIGGINS [furious] Hand them over. [She puts them into his hands]. If these belonged to me instead of to the jeweler, I'd ram them down your ungrateful throat. [He perfunctorily thrusts them into his pockets, unconsciously decorating himself with the protruding ends of the chains]. LIZA [taking a ring off] This ring isnt the jeweler's: it's the one you bought me in Brighton. I dont want it now. [Higgins dashes the ring violently into the fireplace, and turns on her so threateningly that she crouches over the piano with her hands over her face, and exclaims] Dont you hit me. HIGGINS. Hit you! You infamous creature, how dare you accuse me of such a thing? It is you who have hit me. You have wounded me to the heart. LIZA [thrilling with hidden joy] I'm glad. Ive got a little of my own back, anyhow. HIGGINS [with dignity, in his finest professional style] You have caused me to lose my temper: a thing that has hardly ever happend to me before. I prefer to say nothing more tonight. I am going to bed. LIZA [pertly] Youd better leave a note for Mrs. Pearce about the coffee; for she wont be told by me. HIGGINS [formally] Damn Mrs. Pearce; and damn the coffee; and damn you; and damn my own folly in having lavished hard-earned knowledge and the treasure of my regard and intimacy on a heartless guttersnipe. [He goes out with impressive decorum, and spoils it by slamming the door savagely]. Eliza smiles for the first time; expresses her feelings by a wild pantomime in which an imitation of Higgins's exit is confused with her own triumph; and finally goes down on her knees on the hearthrug to look for the ring.