FilmActing - Film Acting Acting and Performance and...

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Film Acting Acting and Performance and Streetcar New York Times review Stage vs. Film Physicality of performances Actors as auteurs? John Wayne Al Pacino Symbolism Mise-en-scene and set, costumes Stella vs. Stanley The method acting - “inside out” vs. “inside in” Censorship issues Animalistic Cannary - sings, delicate contrasts to Stanley “Acting: Stage vs. Screen,” Leo Braudy (1976) Over centuries, ongoing tension between acting artifice and naturalism Division between realistic and unnatural style of acting In Greek theater, either mythical, heroic figures or low, farcical ones These greek figures were kings, queens, gods, goddesses Characters are fools, comics, low standing Larger than life characters → they are aboves us; bigger attributes and bigger failings. In theatre in that time, they wanted to bring it back down to earth 19th century florid, melodramatic stage style (esp. In U.S.) challenged first by naturalism embodied in plays of Ibsen, Chekov, etc. These were about normal people who were flawed and was unable to find the gods in their world They brought things down to earth Bold gestures still did existed though → used as a code to help the audience see what they are doing and to convey specific emotions that the audience can pick up on Hands in the air → astonishment Older, expressive style of specific, bold gestures to indicate emotions; also broad pantomime techniques imported into silent film Yet, still necessary in film, esp. For dramatic close up inserts Growth of personality stars in film “presence” exceeding narrow demands of role, script Anybody can play their roles but their presence results in a bigger than life characteristic I.e. stage roles timeless, “bigger” than actors Often resulting in typecasting Once an actor gets into a groove, they are always casted as a
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