2007 -- textbook : part III. Images (chapter 7.)
acting for the camera =
Stanislavsky
stanislavsky.us


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rat-tuma

Part 3 (textbook): Image Building

Mask page in T-Books *

Postmodernism : Beckett and After

Absurd

... (They are not ready for PoMo texts! Try again later. Stoppard? R/G are Dead. -- final exam choices)

Symbolism (Existential Images) -- Miss Julie. [ props and signs ]

Lecoq
Mask, Lecoq & Commedia


lesson 9.

Actor Directs -- Role > Show < Public
Actor directs TIME

BM cycle = 1, 2, 3, (stop) -- "making signs"

examples : + texts

Symbolism : Sign -> Image

Ms. Julie (scene)

Strindberg

[ and the same scenes in directing class? ]

... monologues -- and re-action (work only with the "silent partner")!

MISS JULIE [approaches the chopping block, as though drawn there against her will]. No, I don't want to go just yet; I can't-- -- -I must see-- -- --Quiet! There's a carriage outside--[Listens to the sounds outside while keeping her eyes fixed on the block and the axe] Do you think I can't bear the sight of blood? Do you think I'm so weak?-- -- --Oh--I'd like to see your blood, your brains, on a chopping block--I'd like to see your sex,* swimming in a sea of blood, like that bird there--I do believe I could drink from your skull, I'd like to paddle my feet in your breast, I'd roast your heart and eat it whole!--You think I'm weak; you think I love you because my womb desired your seed; you think I want to carry your brood beneath my heart and nourish it with my blood--to bear your child and take your name--by the way, what is your surname?--I've never heard it--you probably haven't got one. I'd become 'Mrs Gatekeeper'--or 'Madame Rubbish Dump'--You dog, who wears my collar, you drudge with my crest upon your buttons--I share with my cook? Compete with my maid?--Oh! oh! oh!--You think I'm a coward and want to run away. No, I'm staying now--and let the storm break! My father'll come home-find his desk broken open--his money gone--Then he'll ring--on that bell--twice for his lackey--And then he'll send for the police--and I'll tell them everything. Everything! Oh, it'll be so good to end it all--if only it is the end--And then he'll have a stroke and die--And it'll be all up with us--quiet--peace--eternal rest--And then our coat of arms will be broken upon the coffin;* the Count's line will be extinguished and the lackey's race will continue in an orphanage--winning its laurels in the gutter and ending its days in gaol.

[ Jean's reactions ]

... climax?

... monologue topics review -- and back to the scene!

BM class * BM files

BM group * dicting pages

Film-North * Anatoly Antohin Acting2

counter(s)

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

[ preview -- lesson 10 ]

Themes: Corruption of the male's vitality and social role because of the'emancipated woman," rebellion and defiance of God and society (Nietzsche), search for some sense of salvation and reconciliation with the world, the hidden symbolism of the spiritual and natural worlds, the interconnectedness of the all things material, scientific and spiritual, the Occult, Alchemy social inequality, Swedenborg.

Style: Generally Strindberg's style can be divided into two periods, the pre-Inferno naturalism and historical realism and the post-Inferno symbolism and expressionism. The early plays unmasked the base drives of man and showed human nature in its rawest and often most vile form. Most of the action in these plays takes place through dialogue and the settings are usually small-scale domestic situations depicted realistically. They are also very compact, high in dramatic tension and extremely focused on exploring the concept of the play rather developing the characters or settings. The post-Inferno plays are also focused on exploring concepts but they are more imaginative and poetic. The action takes place as much in the actions of the characters and the sets, which are often heavily symbolic, as the dialogue. The plays usually focus on more basic spiritual matters - on the general misery of man and some form of redemption, often using religious symbolism. The symbolist plays, such as the Chamber Plays, are set in realistic domestic situations but everyday items, the characters and their actions are giving symbolic, often religious, significance. The expressionist plays deal more abstractly and poetically with similar spiritual matters, using symbolic names like The Stranger or the Lady, and idealized, often other worldly, settings, like monasteries, and features from nature. Supernatural acts, such as Indian gods becoming human and the appearance of ghosts, are common in the expressionist plays. Strindberg seems to have given little thought to staging his plays because his stage directions are often scant and give little direction on how to produce the effects described. Characters appear and disappear with entrances or exits noted and set descriptions often focus more on the effect they are to produce that what will actually be seen on the stage. Strindberg had a very vibrant prose style in both his fiction and non-fiction. In non-fiction, he launched a full assault on whatever he was assaulting, but often fictionalized facts to fit his symbolic schemes or other purposes. [ Evan Goodwin, "little blue light - August Strindberg", Littlebluelight.com (May 28, 2003 Edition) ]

Symbolism, Nihilism, Myth... and Realism

from biomenachics.vtheatre.net/3 :

Part 3. Actor - Character - Role - Public
1 * 2 * 3 * 4

    Storytelling -- Mask: Character into Role (Your Story for Your Public)

    textbook -- Part 3 * 4 * 5 ?

    -- working with directing students on final scenes --