... ACTING slideshow
... Casting is like... marriage.
"Do not wait for the emotional state to "come". It'll come never. You must be prepared for it to come and be open to it. You must be ready to be stimulated by a sound, a movement, or a silence. Don't be afraid of the pauses. Pause creates poetry and magic… A major actor is the one that listens right, not the one that talks. If you listen right you'll answer convincingly." -- Koun
Broadway tickets at TickCo. Get the best available Mary Poppins tickets as well as tickets to Wicked and Disney's High School Musical tickets.
Film Directing 101
Method for Directors?
Showcase: Part V
GeoAlaska: Theatre & Film
KEY TERMS: Glossary
THR121 Fundamentals of Acting or permission of instructor -- requred for THR331!
ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan 2003: Director's Book
prof. Anatoly Antohin Theatre UAF AK 99775 USA
First, read what I said to actors about the cast in METHOD directory.
Auditions page @ thr theory.
SummaryWe will combined classes with the Intermediate Acting (focus on Biomechanics)
Each of us has his own methods, systems, tricks -- as you notice, I begin my pre-production period way ahead. In SHOWS directory I have an individual page for every main character; I print them out and take with me to the auditions. The list, resumes and audition forms I leave to my stage manager and make all notes on the character pages. It help me to stay focus on what I need for the role.
Questions«In the creative process there is the father, the author of the play; the mother, the actor pregnant with the part; and the child, the role to be born». Stanislavsky
From "Cameron & Gillespie":
acting basics *
Gandhi: My life is my message... Each character is a story -- a thought for actors about casting.
Commedia Dell'arte: An Actor's Handbook by John Rudlin; Routledge, 1994 - Introduction - Part I: The Commedia Dell’Arte - Origins - The Mask - Playing Commedia - Part II: The Stock Characters - The Zanni - The Old Men - The Lovers - Il Capitano - Colombina - Other Masks - Minor Masks - Part III: The Twentieth Century - Craig at the Arena Goldoni - Meyerhold Dappertutto - Copeau’s New Improvised Comedy - Charles Dullin: Letters from the Front - The Servant of Two Masters - The Lecoq School - Le ThéâTre Du Soleil - The San Francisco Mime Troupe - Tnt (The New Theatre) - Dario Fo - Carlo Boso and Antonio Fava - Restoration or Renovation? - Appendix: Making a Leather Mask - Notes - A Selection of Works on Commedia Dell’Arte in English
Director's preparation for Auditions:
"Second mariage" -- match between the play and your concept.
Monologues + Improv and cold Readings
Ensemble Concept (Rehearsals)
Yes, director makes the call, but at the end the fate of the show depends on actors... sometimes even a single actor. In the movie industry this fact is obvious. Casting mistake can cost you a show, my friend.
Listen to me, go back to the play you are to direct -- read again, think again... this is the only way to help yourself in casting. And call your actors back. Help them to help you; get them closer to the text...
And watch the chemistry. They have to be together at the end of your journey.
"It is very hard to cast a number of plays adequately from the same company of actors without several parts being miscast." John Gielgud * Film Acting
There are "cast" pages in acting directories (BioMethod, Biomechanics, Method) with the "amplua" breakdown, typecasting and etc. Since casting = job, this is a big deal for actors. Most of them do not understand how directors do it. Many directors do not understand how they do it. "Casting Directors"? I never heard of them before I came to the States!
Casting is the "matchmaking"! I have to match the part with the actor, according to vision! How? Oh, the mystery of finding your soul mate!
I noticed that after auditions I do not want to think about casting... I want my instincts to do the preliminary work. I don't want to go with what is "right" -- I have to take my chances. The choice of an actor is no less important than your choice of a script. Do I see a face, when I think about the show before auditions? Sort of. More a feel. You have to stay open. Auditions re-write the script.
In the past (and Europe) playwrights wrote for actors (movie industry). Were Chekhov and Stanislavsky lucky? I don't know; both are dead. My reality is different...
ANATOLY: Yes, sir.
MASTER: What is that? (Points his long finger at the textbook, page 119 -- Vladimir Nemirovich-Danchenko).
ANATOLY (reads): "The Three Faces of the Director"...
ANATOLY: This is from Nemirovich-Danchenko's "My Life in the Russian Theatre"...
MASTER: His life in the Russian Theatre! (laughs) What does he know about directing?
ANATOLY: He organized the Moscow Art Theatre, with Stanislavsky, of course...
MASTER: Organized, organized! The bastard is a producer, not a director!
ANATOLY: Director is a producer too, somewhat...
MASTER: Being a producer or teacher is consequential. The artist in director simply asks for those qualities! Take him out of the book!
MASTER: Yes, tear up the pages with his rabish! He repeats everything after Stanislavsky and does it badly, misrepresenting. Tear him up! Now!
During the "table period" (right after the casting) I ask every actor to find in the play his or her key scenes and monologues (I have my own preferences) -- and we start individual rehearsal with the analysis of those key monologues (see mono pages in Acting, Method and Biomechanicas).
@2001-2004 film-north *[ use Google to search my theatre (vtheatre.net) and film (filmplus.org) sites! subscribe to forums: dramlit, directing, acting and etc. ]
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2007 An online course supplement * Film-North * Anatoly Antohin * eCitations
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