Unformatted text preview: Announcements QUIZ TODAY Wednesday Performance of ACT ONE of The Pavilion Attendance will be taken EXTRA CREDIT All worth up to 35 points! Graded according to effort and creativity The Actor Pick a monologue 12 minutes, work oneonone for 30 min with me, perform for class on 4/28 The Designer Create a set design, costume design, or sound design for a play of your choosing (yes to Pavilion, no to Picasso or Birdie) due 4/28 Will email list of specific details Gypsy is playing at the Hippodrome March 25th Call 7529797 724 Austin Ave. The Vagina Monologues March 20th at 7pm at the Hippodrome Tickets $10 at the door Attach program to a 2 page typed review of the performance for 20 extra credit points QUIZ 1) _________ is perhaps the most famous acting teacher of the 20th C. His/Her method of acting involves transforming yourself into the character in a very realistic way. A) Stella Adler B) Lee Strasberg C) Tadashi Suzuki D) Konstantin Stanislavsky 2) This acting technique allows actors to find similarities between themselves and the character and to explore the resulting emotions and thoughts by asking an important question. A) The Magic If B) Emotionalism C) Impassioned Dramatics D) The 10 Questions of Acting E) Acting from the Inside Out 3) When actors have little emotional bond with their characters or have trouble identifying with them, they use a technique called __________ which allows them to use their own emotions in place of the characters'. A) Swapping out B) Empathy C) Switcheroo D) Substitution E) Acting from the inside out 4) The most important want or driving force that governs the actions of the character during the entire play is called? A) Major Decision B) Given Circumstances C) The Drive System D) Superobjective 5) This can include broad topics such as upbringing, religion, and social standing, but it can also include what happened to a character before they entered the stage. A) The Given Circumstances B) The 10 questions of acting C) Affirmative acting D) The Character's Flaw 6) When an actor thinks back over a certain incident in their life and remembers it well enough to relive the accompanying emotions, it is called... A) Catharsis B) Emotionalism C) Impassioned Dramatics D) Emotional Memory E) Temperamental Acting 7) The Stanislavsky system of acting is better known in the US as _________ acting. A) Emotional B) Method C) American D) Physical 8) Reading sections of a script without rehearsal as a part of auditioning is known as giving ________ readings. A) Hot B) Cold C) Lukewarm D) Unprepared E) Fast 9) Training the actors voice is usually divided into two parts the speaking voice and _____________. A) tone B) rhythm C) breathing D) relaxation 10) This is a small room where the actors wait to make their entrances. A) Calming room B) Room C) Station room D) Green room E) Exit room Chapter Seven
The Art of Acting Training to be an Actor
Dance Martial arts Fencing Stage combat Yoga Circus techniques Tai Chi Training the Actor
Breathing techniques Vocal technique in pitch, volume and resonance Dialects International Phonetic Alphabet Singing Training the Actor
Memorization skills Levels of empathy Engaging with the imagination Keen awareness of surroundings and others Ability to analyze and synthesize information quickly Acting Methods/Acting Teachers
and the Moscow Art Theatre Konstantin Stanislavsky Michael Chekhov Lee Strasberg and Stella Adler Sanford Meisner INSIDEOUT Konstantin Stanislavsky 1863 1938
"The fundamental aim of our art is the creation of this inner life of a human spirit, and its expression in an artistic form."
Stanislavsky in An Actor Prepares In 1897 he cofounded the Moscow Art Theatre (MAT) with Vladimir NemirovichDanchenko. One of the company's first productions was Anton Chekhov's The Seagull. Actors were instructed to utilize their "Affective Memory" (emotional memory) in order to naturally portray a character's emotions. In order to do this actors were required to think of a moment in their own lives when they had felt the desired emotion and then replay the emotion in role in order to achieve a more genuine performance. Stanislavsky's Method developed a systematic approach to training actors to work from the inside outward. OUTSIDEIN Tadashi Suzuki "The desire to impart the significance and the reality of human experience, from birth to death,... must all be conveyed. One way to do so is through the theatre ..."
Suzuki, The Way of Acting Acting Techniques for Everyone For expressing emotions Outside/in Inside/out Technical approach Emotional memory For creating character Use of costumes or props Ability to visualize imaginatively the world of the play Acting Techniques for Everyone Empathy Substitution Use of imagery Recall Emotional Memory Given circumstances Magic ifWhat would I do if I was this Throughline actions character in this situation? Task/Objective The basic premise of Stanislavsky's approach to acting is that the text sets a task, which in turn challenges an actor to answer the question What do I need to do? In other words, an actor must find a solution to a problem. The task provides the need that drives an actor's activities, speeches, relationships, and behavior onstage. Examples: I need to pass this class. I need to teach this student a lesson. I need to get back with my girlfriend. I need to graduate. Action An action is what you perform onstage to accomplish the task. The action answers the question What do I do to get what I need? An action is written in the form of an infinitive verb, in the active voice. An action is a verb because it's something that you do. Examples: To teach To study To beg To escape The action is never a state of being. You don't want "to be" anything; you want to do something. You don't want to be passive onstage. Even when you are listening you want to be listening actively. Examples: I want to enjoy (not I want to be happy) I want to remove myself (not I want to be left alone) I want to graduate (not I want to be a graduate) Now you want to put that verb into action with another person: I want: To charm my teacher To evade my teacher To convince my friend Obstacles The things that stand in your character's way are called obstacles. In order to create dramatic action you want to make an obstacle of other actors. Often they will make obstacles of themselves. You can also make an obstacle of the physical environment, your costume, or any other aspect of the production or the role. (You want something, and someone or something stands in your way.) Throughline Dramatic action, as well as emotion, occur when a task meets up with an obstacle and the actor changes course in some way. The Russian word for throughline is the same word as channel, and Stanislavsky makes a point that a pilot navigates his boat down the river by sticking to the channel. The diagram Stanislavsky gives for a through line: ActionObstacle New ActionTask New ActionObstacle As you attempt to accomplish your tasks in rehearsal, you will establish a throughline by the intersection of action and obstacles. In rehearsal, you want first to identify your tasks and then to establish what helps and what hinders any actions you take to achieve those tasks. To flatterhis obstinacy I stand up to himI need to pass the class To submithis cruelty Supertask/Superobjective Sometimes a task will challenge a character for the entire play. This is given the term super task. Harold Clurman, one of the first American stage directors to apply the Stanislavsky System in rehearsals, called the supertask the spine of the character. You can always fall back on the supertask of the character. Review of Terms Task what you need to do onstage Action what you do to accomplish your task Obstacle whatever interrupts the progress of your actions Supertask what you need to do throughout the play Throughline a repeatable progression of actions encountering obstacles and changing actions Auditions Open call "cattle call" Cold Readings Improvisations Callback list Rehearsal to Performance Table work Blocking rehearsals General working rehearsals Special rehearsals Offbook rehearsals Runthroughs Tech rehearsals Dress rehearsals Preview Performance PreProduction workTable Work Often actors have a lot of homework to do before rehearsals begin, or in the first few days of rehearsal Some examples.... Nine character questions to ask yourself in order to act: 1. Who am I? (Character, age, occupation, family, wealth, etc.) 2. What time is it? (Century, year, season, day, minute) 3. Where am I? (Country, neighbourhood, room, etc.) 4. What surrounds me? (Animate and inanimate) 5. What are the given circumstances? (Past, present, future and events) 6. What is my relationship? (To events, characters and things) 7. What do I want? (Character, main and immediate objectives, supertask) 8. What's in my way? (Obstacles) 9. What do I do to get what I want? (Action: physical/verbal) The Six Steps Uta Hagen The six Steps from Utah Hagen's "respect for Acting is a foundation for Creating characters.Who am I? What is my present state of Being? How do I perceive myself? What am I wearing? What are the circumstances? What time is it (the year/time period, the season, the day? At what time does my selected life begin? Where am I? (In what city, neighborhood, building, and room do I find myself? Or in what landscape if outdoors?) What surrounds me? The immediate landscape? The weather? The condition of the place and the nature of the objects in it? What are my relationships? How do I stand in relationship to the circumstances, the place, the objects, and the other people related to my circumstances? What do I want? What is my main objective? (What do I want from others in the scene? What is my immediate need or objective? What are my obstacles? What stands in the way of what I want? How will I overcome it? What do I do when I get what I want? What do I do to get my objective? What is my behavior? What are my actions? (keep it small and specific) How far am I willing to go to reach my objective? Analogues Draw 1 analogue for Peter Kari Narrator Due by Wed before class 10pts ...
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- Spring '08
- The Seagull, Method acting, Stella Adler, Konstantin Stanislavsky, Constantin Stanislavski, emotional memory