* BioMethod * The subdirectories (1, 2, 3, 4, 5) are not developed yet! * acting I *
|Having talent is like having blue eyes. You don't admire a man for the colour of his eyes. I admire a man for what he does with his talent. - Michael Caine
Lion King Tickets
Odd Couple Tickets
If an actor can find the personal rhythm of a character, he's home free. And one of the best ways to do that is to follow a person down the street, unbeknownst to him. Pick up his walk, imitate it and continue it, even after he's out of sight. As you're doing it, observe what's happening to you. By zeroing in on a guy's personal rhythm, you'll find that you've become a different person. Dustin Hoffman
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
SummaryI keep working on The Book of Spectator and theory asks to rethink what we call "text": if indeed we believe that the final text is the spectator's experience (semiotics), we should consider acting as a pre-text... and dramatic texts as pre-pretexts!
QuestionsWhat is the difference between CHARACTER and ROLE?
NotesTHE PRACTITIONERS: The Actor * The Playwright * Designers and Technicians * The Director * The Critic
* one act fest
To the Actor: On the Technique of Acting by Michael Chekhov, Nicolai Remisoff; Harper & Row, 1953 - Chapter 1: The Actor's Body and Psychology - Chapter 2: Imagination and Incorporation of Images - Chapter 3: Improvisation and Ensemble - Chapter 4: The Atmosphere and Individual Feelings - Chapter 5: The Psychological Gesture - Chapter 6: Character and Characterization - Chapter 7: Creative Individuality - Chapter 8: Composition of the Performance - Chapter 9: Different Types of Performances - Chapter 10 How to Approach the Part
This what you, actor, "write" on stage!
The difference (and conflict) between what your character says and thinks is expressed through what you DO -- we call it "subtext"!
You have to have both -- task and obstacle (chapter 1 & 2 in "5 Approaches to Acting")
Kaplan: "A rehearsal process need not be a savage removal of bad choices, but a steady build-up of good and better choices." (42)The files on Performance will be @ act.vtheatre.net/2
Organizing a Text for Its Tasks = Organizing a Text for Its Obstacles
Use monologues to define your tasks (objectives) and obstacles (write in your Actors's Text and your Journal's analysis of the characters.
LUBOV. What truth? You see where truth is, and where untruth is, but I seem to have lost my sight and see nothing. You boldly settle all important questions, but tell me, dear, isn't it because you're young, because you haven't had time to suffer till you settled a single one of your questions? You boldly look forward, isn't it because you cannot foresee or expect anything terrible, because so far life has been hidden from your young eyes? You are bolder, more honest, deeper than we are, but think only, be just a little magnanimous, and have mercy on me. I was born here, my father and mother lived here, my grandfather too, I love this house. I couldn't understand my life without that cherry orchard, and if it really must be sold, sell me with it! [Embraces TROFIMOV, kisses his forehead]. My son was drowned here. . . . [Weeps] Have pity on me, good, kind man.* new: stanislavsky.us and meyerhold.us *
Define her conflict:
Simposia, Discussion, Feedback"Actors have to have a fundamental ability to be in permanent dialogue with their imaginations, so that when they utter forth something, people hear them." Fiona ShawDionysos: Finally, now we are talking about acting!
Apollo: But the drama (words) are still the blueprint for actors!
Meyerhold: Literature is nothing but a "material"!
Stanislavsky: History of theatre is the history of great drama!
"Above" (line) -- what we see.
"Below" -- what actor should see (9/10): Actor's Text
How many levels are under water? As many as possible. We "guess" the depth, we "read" into it (imagination). "Actor directs".
The last levels even a performer can only "guess" in his own soul... (see Freud Page)
Also, Shaman Page...
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
Two basic schools of thought that actually merge -- most actors will use a combination of both: Method (Internal) vs. Techniques (External)
Performance Page: improvisation * method * technique * internal approach * external approach * subtext (371) * substitution * emotional, sense, affective memory
Counter-point (Meyerhold) = "playing against text" (conflict between between words and movement create the third meaning). Eisenstein calls "dialictics" (montage theory): thesis + antithesis > synthesis...
Verbal and visual messages are the basis of the subtext.
Here is the "pyramid" of levels, which could be expressed differently and produce "rich" message.
What is the function of "dialogue" (literary text)? "Performance text" is born out of the combination of messages.
[ ... ]
* online quiz *
... DOOLITTLE: [softening his manner in deference to her sex] Thats the tragedy of it, maam. It's easy to say chuck it; but I havent the nerve. Which of us has? We're all intimidated. Intimidated, maam: thats what we are. What is there for me if I chuck it but the workhouse in my old age? I have to dye my hair already to keep my job as a dustman. If I was one of the deserving poor, and had put by a bit, I could chuck it; but then why should I, acause the deserving poor might as well be millionaires for all the happiness they ever has. They dont know what happiness is. But I, as one of the undeserving poor, have nothing between me and the pauper's uniform but this here blasted three thousand a year that shoves me into the middle class. (Excuse the expression, maam: youd use it yourself if you had my provocation). Theyve got you every way you turn: it's a choice between the Skilly of the workhouse and the Char Bydis of the middle class; and I havnt the nerve for the workhouse. Intimidated: thats what I am. Broke. Bought up. Happier men than me will call for my dust, and touch me for their tip; and I'll look on helpless, and envy them. And thats what your son has brought me to. [He is overcome by emotion].
[ Pygmalion, Act V ]
Social and Psychological Traits:
Place of birth:
How is the character like you?
How is the character unlike you?
Intellectual/emotional Optimist/pessimist Strong/weak Active/passive