2008 Film Scenes [ class project ]
... criteria (blocked) and stages of focus (concentration -- physicalization, vocalization, visualization)
"Raugh Draft" (memorized)
"Final cut" (role)
... testing (improv), reversed roles and etc.
Classic v. Modern [Oedipus and True West]
Exams for actors by Aristotle :
Test on 1, 2, 3, 4 [text, space, partner, public]
Test(s) on "stage business" (costume, props, set)
Testing on SUBTEXT
Chronotope testing : subjective time and dramatic space ( do you have it?)
[ records, logs, journal, self-critism ]
... Scene Study Level 1 (Pre-Acting) and Level 3 (Method)
Finals : Modern : Shepard, Mamet, Durang, Stoppard -- list.
Acting eGroups archives.
... Scene Presentation [general]
Miss Julie 2007 case study ***
acting2 group webpages
first, see SCENES page!
... Shakespeare * Moliere * Chekhov/Sprindberg ...
"Modern" (finals) -- ("20th century + " plays)
O'Neill + Miller : script.vtheatre.net/amdrama
Pinter Homecoming and etc.
... winter shorts 2007 Spring
... "Picnic" (Theatre UAF 50 years production) -
* Scene Study II : High Modernity and Postmodern ("True West", notes: the group's posts)
... True West : Americana -- "My Brother from a Different Mother" (title for a scene Luke-Kerry)
A lot of papers, canned beer --
typewriter (on the floor, place is not for writing?)
how to create a mess with limited prop?
set "KITCHEN" -- ? Night. Coyotes in distance, fade, sound of typewriter in dark, crickets, candlelight in alcove, dim light in kitchen, lights reveal
Austin at glass table typing, Lee sits across from him, foot on table,
drinking beer and whisky, the T.V. is still on sink counter...
... SCENES I :Greeks to Modernism?
"Themes" to continue...
[ list -- suggested and recommended titles ]
Miss Julie (in class)
"World of the play" (part 4. textbook)
3 Sisters : First presented: 1901Written in four acts, Anton Chekov's play is regarded by some critics as the best drama of the 20th century. The Prozorov sisters, Olga, Masha, and Irina, along with their brother, Andrey, drag out a dull existence in a small provincial garrison town. Only the diversion afforded by the officers and the ever-present dream of someday moving to Moscow keep the sisters going from one drab day to the next. Audrey, who has had dreams of becoming a professor, makes a bad marriage that thwarts his ambition and adds to his sisters' troubles. His wife, Natalya Ivanovna, becomes a domestic despot. Masha, who is married to the pedantic schoolmaster Kulygin, tries to find happiness in a love affair with the officer Vershinin. The youngest sister, Irina, attempts to escape the drabness of her life by marrying Baron Tuzenbakh, another officer. The removal of the regiment from the town undoes Masha's plan, because Vershinin is married and cannot take her with him. Tuzenbakh is killed in a duel. The three sisters are left as they were in the beginning, deriving some faint pleasure from the cheerful sounds of the regimental band as it marches away, still clinging to their hopes for a better life. [Play summary from Benet's Reader's Encyclopedia, p. 1024]
Acting in Style (Caligari'09)
Timetable : Six Days of Creation :
"Cold Reading" and Table period ( analysis -- ACTOR1 : thinking )
Design for Role ("conceptualization") : "Method" Approach (character' story, 5Ws, "Before" and "After")
"No Acting, Please" stage
Trying ( "stage business" ) "characterization"
Day 6 : Performance
Day of Rest ?
2007 midterm page --> finals
SS Scene Study in directing class [ direct.vtheatre.net ].
acting2 pages:INTRO class Textbook Assignments biblio References required Biomechanics Webpages Backstage NEW notes part 1. text part 2. stage part 3. public part 4. self monologue scenes [ go there for updates! ]
Sophocles ( read 200X Aristotle Files )
midterm scenes (list) : classic [ sample ]
JOCASTA Let me too, I adjure thee, know, O king, What cause has stirred this unrelenting wrath. OEDIPUS I will, for thou art more to me than these. Lady, the cause is Creon and his plots. JOCASTA But what provoked the quarrel? make this clear. OEDIPUS He points me out as Laius' murderer. JOCASTA Of his own knowledge or upon report? OEDIPUS He is too cunning to commit himself, And makes a mouthpiece of a knavish seer. JOCASTA Then thou mayest ease thy conscience on that score. Listen and I'll convince thee that no man Hath scot or lot in the prophetic art. Here is the proof in brief. An oracle Once came to Laius (I will not say 'Twas from the Delphic god himself, but from His ministers) declaring he was doomed To perish by the hand of his own son, A child that should be born to him by me. Now Laius--so at least report affirmed-- Was murdered on a day by highwaymen, No natives, at a spot where three roads meet. As for the child, it was but three days old, When Laius, its ankles pierced and pinned Together, gave it to be cast away By others on the trackless mountain side. So then Apollo brought it not to pass The child should be his father's murderer, Or the dread terror find accomplishment, And Laius be slain by his own son. Such was the prophet's horoscope. O king, Regard it not. Whate'er the god deems fit To search, himself unaided will reveal. OEDIPUS What memories, what wild tumult of the soul Came o'er me, lady, as I heard thee speak! JOCASTA What mean'st thou? What has shocked and startled thee? OEDIPUS Methought I heard thee say that Laius Was murdered at the meeting of three roads. JOCASTA So ran the story that is current still. OEDIPUS Where did this happen? Dost thou know the place? JOCASTA Phocis the land is called; the spot is where Branch roads from Delphi and from Daulis meet. OEDIPUS And how long is it since these things befell? JOCASTA 'Twas but a brief while were thou wast proclaimed Our country's ruler that the news was brought. OEDIPUS O Zeus, what hast thou willed to do with me! JOCASTA What is it, Oedipus, that moves thee so? OEDIPUS Ask me not yet; tell me the build and height Of Laius? Was he still in manhood's prime? JOCASTA Tall was he, and his hair was lightly strewn With silver; and not unlike thee in form. OEDIPUS O woe is me! Mehtinks unwittingly I laid but now a dread curse on myself. JOCASTA What say'st thou? When I look upon thee, my king, I tremble. OEDIPUS 'Tis a dread presentiment That in the end the seer will prove not blind. One further question to resolve my doubt. JOCASTA I quail; but ask, and I will answer all. OEDIPUS Had he but few attendants or a train Of armed retainers with him, like a prince? JOCASTA They were but five in all, and one of them A herald; Laius in a mule-car rode. OEDIPUS Alas! 'tis clear as noonday now. But say, Lady, who carried this report to Thebes? JOCASTA A serf, the sole survivor who returned. OEDIPUS Haply he is at hand or in the house? JOCASTA No, for as soon as he returned and found Thee reigning in the stead of Laius slain, He clasped my hand and supplicated me To send him to the alps and pastures, where He might be farthest from the sight of Thebes. And so I sent him. 'Twas an honest slave And well deserved some better recompense. OEDIPUS Fetch him at once. I fain would see the man. JOCASTA He shall be brought; but wherefore summon him? OEDIPUS Lady, I fear my tongue has overrun Discretion; therefore I would question him. JOCASTA Well, he shall come, but may not I too claim To share the burden of thy heart, my king? OEDIPUS And thou shalt not be frustrate of thy wish. Now my imaginings have gone so far. Who has a higher claim that thou to hear My tale of dire adventures? Listen then. My sire was Polybus of Corinth, and My mother Merope, a Dorian; And I was held the foremost citizen, Till a strange thing befell me, strange indeed, Yet scarce deserving all the heat it stirred. A roisterer at some banquet, flown with wine, Shouted "Thou art not true son of thy sire." It irked me, but I stomached for the nonce The insult; on the morrow I sought out My mother and my sire and questioned them. They were indignant at the random slur Cast on my parentage and did their best To comfort me, but still the venomed barb Rankled, for still the scandal spread and grew. So privily without their leave I went To Delphi, and Apollo sent me back Baulked of the knowledge that I came to seek. But other grievous things he prophesied, Woes, lamentations, mourning, portents dire; To wit I should defile my mother's bed And raise up seed too loathsome to behold, And slay the father from whose loins I sprang. Then, lady,--thou shalt hear the very truth-- As I drew near the triple-branching roads, A herald met me and a man who sat In a car drawn by colts--as in thy tale-- The man in front and the old man himself Threatened to thrust me rudely from the path, Then jostled by the charioteer in wrath I struck him, and the old man, seeing this, Watched till I passed and from his car brought down Full on my head the double-pointed goad. Yet was I quits with him and more; one stroke Of my good staff sufficed to fling him clean Out of the chariot seat and laid him prone. And so I slew them every one. But if Betwixt this stranger there was aught in common With Laius, who more miserable than I, What mortal could you find more god-abhorred? Wretch whom no sojourner, no citizen May harbor or address, whom all are bound To harry from their homes. And this same curse Was laid on me, and laid by none but me. Yea with these hands all gory I pollute The bed of him I slew. Say, am I vile? Am I not utterly unclean, a wretch Doomed to be banished, and in banishment Forgo the sight of all my dearest ones, And never tread again my native earth; Or else to wed my mother and slay my sire, Polybus, who begat me and upreared? If one should say, this is the handiwork Of some inhuman power, who could blame His judgment? But, ye pure and awful gods, Forbid, forbid that I should see that day! May I be blotted out from living men Ere such a plague spot set on me its brand! CHORUS We too, O king, are troubled; but till thou Hast questioned the survivor, still hope on. OEDIPUS My hope is faint, but still enough survives To bid me bide the coming of this herd. JOCASTA Suppose him here, what wouldst thou learn of him? OEDIPUS I'll tell thee, lady; if his tale agrees With thine, I shall have 'scaped calamity. JOCASTA And what of special import did I say? OEDIPUS In thy report of what the herdsman said Laius was slain by robbers; now if he Still speaks of robbers, not a robber, I Slew him not; "one" with "many" cannot square. But if he says one lonely wayfarer, The last link wanting to my guilt is forged. JOCASTA Well, rest assured, his tale ran thus at first, Nor can he now retract what then he said; Not I alone but all our townsfolk heard it. E'en should he vary somewhat in his story, He cannot make the death of Laius In any wise jump with the oracle. For Loxias said expressly he was doomed To die by my child's hand, but he, poor babe, He shed no blood, but perished first himself. So much for divination. Henceforth I Will look for signs neither to right nor left. OEDIPUS Thou reasonest well. Still I would have thee send And fetch the bondsman hither. See to it. JOCASTA That will I straightway. Come, let us within. I would do nothing that my lord mislikes. [Exeunt OEDIPUS and JOCASTA]
An online course supplement * Film-North * Anatoly Antohin * eCitations *
© 2005 by vtheatre.net. Permission to link to this site is granted. books.google.com + scholar.google.com | acting amazon
"Brothers" (family, theme)
Act1 scene IV True West By Sam Shepard "Back to the west" Characters Austin-Luke Roberts Lee-Kerry Simmons (Night. Coyotes in distance, fade, sound of typewriter in dark, crickets, candlelight in alcove, dim light in kitchen, lights reveal Austin at glass table typing, Lee sits across from him, foot on table, drinking beer and whisky, the T.V. is still on sink counter, Austin types for a while, then stops.) Lee: All right, now read it back to me. Austin: I'm not reading it back to you, Lee. You can read it when we're finished. I can't spend all night on this. Lee: you got better things to do? Austin: Let's just go ahead. Now what happens when he leaves Texas? Lee: Is He ready to leave Texas yet? I didn't know we were that far along. He's not ready to leave Texas. Austin: He's right at the border. Lee: No, see this is one a' the crucial parts. Right here. We can't rush through this. He is not right at the border. He's a good fifty miles from the border. A lot can happen in fifty miles. Austin: It's only an out. We're not writing an entire script now. Lee: Well ya' can't leave things out even if it is an out. It's one a' the most important parts. Ya' can't go livin' it out. Austin: Okay, okay. Lets just-get it done. Lee: Alright. Now. He's in the truck and he's got his horse trailer and his horse. Austin: We've already established that. Lee: And he sees this other guy comin' up behind him in another truck. And that truck is pullin' a gooseneck. Austin: What's a gooseneck? Lee: Cattle trailer. You know the kind with a gooseneck, goes right down the bed a'the pick-up. Austin: Oh. All right. Lee: It's important Austin: Okay. I got it. Lee: All these details are important. Austin: I've got it. Lee: And this other guy's go his horse all saddled up in the back a' the gooseneck. Austin: Right. Lee: So both these guy's have got their horse right along with em, see. Austin: I understand. Lee: Then this first guy suddenly realizes two things. Austin: The guy in front? Lee: Right. The guy in front realizes two things almost at the same time. Simultaneous. Austin: What were the two things? Lee: Number one, he realizes that the guy behind him is the husband of the woman he's been- (Lee makes gesture of screwing and pumping his arm) Austin (Sees Lee's gesture): Oh. Yeah. Lee: And number two, he realizes he's in the middle of Tornado Country. Austin: What's "Tornado Country"? Lee: Panhandle Austin: Panhandle? Lee: Sweetwater. Around in that area. Nothin'. No-where and number three- Austin: I thought there was only two. Lee: There's three. There's a third unforeseen realization. Austin: And what's that? Lee: That he's runnin' outa' gas. Austin (stops typing): Come on, Lee. (Austin gets up, moves to kitchen, gets a glass of water) Lee: Whadya' mean, "Come on"? That's what it is. Write it down! He's runnin' outa' gas. Austin: It's too- Lee: What? It's too what? It's to real! That's what ya' mean isn't it? It's too much like real life! Austin: It's not like real life! It's not enough like real life. Things don't happen like that. Lee: What! Men don't fuck other men's women? Austin: Yes. But they don't end up chasing each other across the Panhandle. Through "Tornado Country." Lee: They do in this movie! Austin: And they don't have horses conveniently along with them when they run out of gas! And they don't run out of gas either! Lee: These guy's run outa' gas! This is my story and one a' these guys runs outa' gas! Austin: It's just a dumb excuse to get them into a chase scene. It's contrived. Lee: It is a chase scene! It's already a chase scene. They been chasin' each other fer days. Austin: So now they're supposed to abandon their trucks, climb on their horse, and chase each other into the mountains? Lee: There aren't any mountains in the Panhandle! It's flat! (Lee turns violently toward windows in alcove and throws beer can at them) Lee: Goddamn those crickets! (yells at crickets.) shut up out there! (Pause, turns back toward the table.) This place is like a fuckin' rest home here. How're you supposed to think! Austin: You wanna' take a break? Lee: No, I don't wanna' take a break! I wanna' get this done! This is my last chance to get this done. Austin (moves back into alcove): All right. Take it easy. Lee: I'm gonna be leavin' this area. I don't have time to mess around here. Austin: Where are you going? Lee: Never mind where I'm goin'! That's got nothin' to do with you. I just gotta' get this done. I'm not like you. Hangin' around bein' a paraite offa' other fools. I gotta' do this thing and get out. Austin: A parasite? Me? Lee: Yeah you- Austin: After you break into people's houses and take their televisions! Lee: They don't need their televisions! I'm doin' them a service. Austin: Give me back my keys, Lee. Lee: Not until you write this thing! You're gonna' write this outline thing for me or that car's gonna wind up in Arizona with a different paint job. Austin: You think you can force me to write this? I was doing you a favor. Lee: Git off yer high horse will ya'! Favor! Big favor. Handin' down favors from the mountain top. Austin: Let's just write it, okay? Let's sit down and not get upset and see if we can get through this. (Austin sits at typewriter.) (Long pause) Lee: Yer not gonna' sow it to him, are ya'? Austin: What? Lee: This outline. You got no intention of showin' it to him. Yer just doin' this cause yer afraid a' me. Austin: You can show it to him yourself Lee: I will, boy! I'm gonna' read it to him on the golf course. Austin: And I'm not afraid of you either. Lee: Then how come yer doin' it? Austin: So I can get my keys back. (Pause as Lee takes keys out of his pocket slowly and throws them on the table, long pauses. Austin stares at keys.) Lee: There. Now you got yer keys back. (Austin looks up at Lee but doesn't take keys.) Lee: Go ahead. There's yer keys. (Austin slowly takes keys off table and puts them back in his own pocket.) Now what're you gonna' do? Kick me out? Austin: I'm not going to kick you out, Lee. Lee: you couldn't kick me out, boy. Austin: I know. Lee: So you can't even consider that one. (Pause) You could call the police. That'd be the obvious thing. Austin: You're my brother. Lee: That don't mean a thing. You go down to the L.A. Police Department there and ask them what kinda' people kill each other the most. What do you think they'd say? Austin: Who said anything about killing? Lee: Family people. Brother. Brothers-in-law. Cousins. Real American type people. They kill each other in the heat mostly. In the smog- Alerts. In the brush fire season. Right about this time a' year. Austin: This isn't the same. Lee: Oh no? What makes it different? Austin: We're not insane. We're not driven to acts of violence like that. Not over a dumb movie script. Now sit down. (Long pause, Lee consider which way to go with it) Lee: Maybe not. (He sits back down at the table across from Austin.) Maybe you're right. Maybe we're too intelligent, huh? (Pause) We got our heads on our shoulders. One of us has even got an Ivy League diploma. Now that means somethin' don't it? Doesn't that mean somethin'? Austin: Look, I'll write this thing for you, Lee. I don't mind writing it. I just don't want to get all worked up about it. It's not worth it. Now, come on. Let's just get through it, Okay? Lee: Nah. I think there's easier money. Lotsa' places I could pick up thousands. Maybe millions. I don't need this shit. I could go up to Sacramento Valley and steal me a diesel. Ten thousand a week dismantling one a' those suckers. Ten thousand a week! (Lee opens another beer, puts his foot back up on table.) Austin: No, really, look, I'll write it out for you. I think it's a great idea. Lee: Nah, you got yer own work to do. I don't wanna' interfere with yer life. Austin: I mean it'd be really fantastic if you could sell this. Turn it into a movie. I mean it. (Pause)Live Writing Advice