19.October.2007

19.October.2007 - II. Acting Part II: What makes a good...

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A. Declamatory acting: i. Tableau vivants (living statues) ii. Historical iii. Hysterical (Believability) and clap traps iv. The impression of being physically involved v. Tricks and manipulation vi. Some powerful performances vii. Training: do as I do, say as I say B. DelSarte Training system: i. Francois DelSarte: 1811-1871 1. Training the entire body to be expressive 2. An attempt to connect physical and emotional 3. A physical alphabet: an attempt to report and se the language of the body 4. Why a problematic idea? 5. DelSarte’s system misunderstood, became poses (voguing?) 6. Influence: a. Prevalent training system for many years in US and Europe b. Roots of modern dance in Isadora Duncan and Ruth St. Denis. c. Roots of modern speech training C. Stanislavsky: Why’s he matter? i. Constantine Stanislavsky 1863-1938 ii. Brief Bio 1. Social context: Feudal system to industrial revolution and Bolsheviks / communism police state. 2.
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19.October.2007 - II. Acting Part II: What makes a good...

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