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LUL classes
Two class [acting/directing] together for FINALS
acting for the camera =
Stanislavsky
stanislavsky.us


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The backdrop of Miss Julie is Midsummer Eve, a festival of pagan origins celebrated in Northern Europe. A number of critics have related the paganism of the festival to the lust of the protagonists. The pagan festival, a pause in regular provincial life, is an occasion for disguise and deception, the crossing of social boundaries, and rebellion against moral stricture. It is appropriate that Midsummer Eve is the setting of Miss Julie and Jean's liaison, an encounter that crosses class lines. The play's investment in Miss Julie's degeneracy and ruin is clear from the outset. The portrait we get of Miss Julie through gossip shows the major motifs that shadow her character. Strindberg's interest in contemporary psychology emerges in the first scene. His heroine is portrayed as sick, probably sick in the manner of female hysterics of Strindberg's day. [ sparknotes ]

How to translate it into ACTING?

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lesson 11. Strindberg continued...

... 9 + 10 +
Vizualization => Physicalization!

Scene # ...

II -- http://www.sparknotes.com/drama/missjulie/section2.rhtml

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[JEAN offers MISS JULIE his arm, and conducts her out]

PANTOMIME*
This should be played as if the actress were really alone; when necessary she should turn her back on the audience; she does not look towards the auditorium nor hurry, as if afraid the audience might become impatient.

KRISTIN alone. The faint sound of a violin at a distance, playing a schottische.

KRISTIN humming to the music; clears up after JEAN, washes the plate at the sink, dries it, and puts it away in a cupboard.

Then she removes her apron, takes out a small mirror from a drawer in the table, places it against the pot of lilac on the table, lights a candle, and heats a hairpin, with which she crisps the hair on her forehead.

Then she goes to the door and listens. Returns to the table. Finds MISS JULIE'S forgotten handkerchief, which she picks up and sniffs; then she spreads it out, as though wrapped in thought, stretches it, smooths it out, and folds it into quarters, etc.

[ "silent scene" ]

The pantomime and ballet [ in class ]
The play's numerous pantomimes function as pauses in action, interrupting the otherwise unbroken episode with slow, highly realistic interludes. Christine cleans the kitchen, curls her hair, and hums a tune; Jean scribbles a few calculations. Such injections of the banal are typical of the naturalistic theater. Also a sort of pantomime, the dance of the peasants operates differently, laying waste to the kitchen and disrupting a largely two-person play with a rowdy crowd. Many critics have identified this pagan festivity of the rumor-mongering crowd as symbolic of Miss Julie's ruin and prefigurative of German expressionism.
Some objects symbolize the Count, suggesting him in his absence: his boots, Jean's livery, the speaking tube, and, most importantly, the ringing bell. Together, these objects symbolize the workings of the master's authority. Their effect on Jean in particular reveals the magical and irresistible nature of the Count's power. They also reduce Jean to a spineless, yes-man. [ sn ]

[ BM class ] * [ BM files ]

[ BM group ] * [ dicting pages ]

http://www.ssn.flinders.edu.au/scanlink/nornotes/vol1/articles/strindbg.html

next -- part 5. Narrative Approach

counter(s)

Film-North * Anatoly Antohin Acting2

biomechanics.vtheatre.net * 9 * 10 * 11 * 12 * [ I ] [ II ] [ III ] [ IV ] * contents *