"All psychological states are determined by specific physiological processes. By correctly resolving the nature of his state physically, the actor reaches the point where he experiences the excitation which communicates itself to the spectator and induces him to share in the actor's performance: what we used to call 'gripping' the spectator. It is this excitation which is the very essence of the actor's art. From a sequence of physical positions and situations there arise those 'points of excitation' which are informed with some particular emotion." (Braun, 199)
In addition to physical improvisation, Stanislavsky required mental and emotional exploration of the role. In heavy Method-oriented production of "3 Sisters" (Fall 1999) I asked the actors to do "character's journal" -- you can see it @ 3sis archives.
The Images (The Album) are still not all in place! [new from vTheatre -- GeoAlaska, links to graphic files are in the list minipages]
Theory of Spectatorship
ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
prof. Anatoly Antohin Theatre UAF AK 99775 USA
Acting in Person and in StyleSubscribe to my Open Class @ 3sisters
Actors on ActingSubscribe to my Open Class @ 12night
The Director's Eye Subscribe to my Open Class @ Directing!
How to Read a FilmSubscribe to Open Class @ 200x Aesthetics
2003: Film600: Bad Theories, Wrong Subjects
2005: total directing & total acting
2008 : t-blog + beta.vtheatre.net online?
(c)2004 * 2008
Move Page in Acting One *
* one act fest
NotesStage Movement / Blocking: "9 Squares" and "3 Levels" rules.
* blocking ideas written on the hard copy before you apply those ideas.
* you present a few blocking suggestions for the script.
* once a final copy the their script is complete, each team should print it, take the hard copy of the scene.
stage movement list (amazon) *
In its simplest explanation, biomechanics is the prolonged “freezing of facial expressions and bodily physical motion." You can think of it as a suspension of a moment in time. It is a fascinating concept that was far ahead of its time. Yet, when Meyerhold tried to implement his new ideas, he often felt restricted by the confines of actors who were regimented by traditional acting techniques. Therefore, Meyerhold established his own acting school just to train a new generation in these revolutionary creative forms. on Braun *
The Moving Body: Teaching Creative Theatre by Jacques Lecoq -- Jacques Lecoq was born in Paris in 1921. He taught until the day before his death in 1999. David Bradby is Professor of Drama and Theatre Studies at Royal Holloway University of London. His is a director, translator, and the author of, among other books, Mise en scene: French Theatre Now.
Viewpoints was developed by Anne Bogart at the Saratoga International Theater Institute in Saratoga Springs, New York. It grew out of work she did with the famous dancer and choreographer Martha Graham, and also combines elements of Asian martial arts.
In a Viewpoints session you begin by improvising, using music and movement. From that improvisation, the director and actors pull out movements and gestures which eventually develop into the choreography of the show. Often, the entire play is improvised without any text being spoken; then later, the text is added to the choreography that has been developed.
The New York-based SITI – shorthand for Saratoga International Theatre Institute – has earned an international reputation for its performances grounded in the specialized training of acclaimed directors Anne Bogart and Tadashi Suzuki. Bogart's is the school-of-fish-producing system called Viewpoints – a vocabulary for improvisational movement-based ensemble work. Suzuki training, in sharp contrast, is a fiercely rigorous approach to physical acting. These two schools of training, most particularly the Viewpoints, are transforming American acting technique in the most revolutionary fashion since the Method was introduced more than 50 years ago.
Master-Gesture and Butoh: "The Butoh dance can be also regarded as a special kind of meditation." (see Shaman page in METHOD Acting)
2007 Improv segments (Character Development)
Improvization as a special discipline is over-rated. It's so organically built within the ACTING that we should see it no more that skill development. There are three main components I ask to choose in Acting One, when we go for Improv Class: situation, character, basic dramatic structure. Simple? Not really.
First, the situation must have urgency and simplicity in order to be established quickly and for all participants at once. Well, we stick with the comedy genre. (We discover right away that we don't know how this "comedy" works -- laws of contrast, comic conflict and ect.)
Second, potentiality. That's why we have to foresee some dramatic development -- expectation of the climax, turning point, resolution. Something ahead, something to aim at.
The Character. Type, Archtype, Stock -- go for physicality. The more grotesque, the better!
For Theatre Theory see THR directory. Also check the Biomechanics!
GamesVectors: directional motions with within axises.http://www.america.net/~boo/html/braun.html
* Motion Vector -- A vector created by an object moving in a specific direction.
* Index Vector -- A vector created by something that points unquestionably in a specific direction.
* Internal Vectors -- Forces with a direction and magnitude operating within us, such as feelings, empathic responses, and etc. See Inner Gesture.
* Coverging Vectors -- Vector that point or move toward each other. Conflict and energy of the event.Directions & Addresses:... "Along with an intense focus on physical expressionism, Meyerhold was also obsessively particular about lighting and scenery. He was a pioneer of the concept that less was more.
Vectors -- In media aesthetics, a perceivable force with a direction and magnitute. In mathematics, a physical quantity with both a magnitude and direction.
Vector Field -- A combination of various vectors operating within a signle field.
Vector Line -- An imaginary line created by extending converging index vectors or a motion vector.
Vector Magnitude -- The degree of the directional force of the vector; the amount of energy we perceive. A high-magnitude vector is a strong vector; a low-magnitude vector is a weak one.
Axises: main directions of action.
Z-Axis -- main axis.
For example, instead of having a riot scene staged in bright lights amongst a heavily cluttered stage with people screaming, Meyerhold would turn off all the lights. In complete darkness, the audience would hear the screams of the crowd in the distance coming closer and closer. Then, the screams of the rioters would fade. A stark silence would reign for a few moments, still in total darkness. Then with a thunderous crash, the audience would hear furniture being thrown about, and people screaming, still being in total darkness throughout the theater. Imagine being in the audience! You would feel the fear of complete silence only to be disoriented by the sounds of destruction all around you. You are no longer the audience, you assume the position of sharing the same fate as the characters on stage. You don’t merely see their fear, you feel it in the same way they do, in total darkness and chaos.
Then slowly, a dim light would cast a shadow across a small sliver of the stage. The audience would peer closer and make out the bodies of a few victims of the destruction. Then, a slightly more intense light would focus on a child shivering with fright beneath a table. There is no dialogue, no music. Only silence and the expression on the child’s face pierce into the hearts of the audience. It would have been an absolutely stunning theatrical experience. Can you imagine the powerful emotions such artistry could invoke?
Yet, this is only a brief example of Meyerhold’s work. He was also renowned for training actors how to speak in such a way that their words actually had a rhythm to them that complimented or at times duplicated music. This was yet another of the innovative concepts which changed the entire look and feel of Russian theater in the 1920s.
There are so many brilliant passages in this work, I could go on forever. I admit that I knew nothing of theatrical studies prior to reading this book. At times I found some of the terminology difficult to follow. However, for the few parts a novice such as myself may not fully comprehend, there are far more passages that you will become totally engrossed with.
Aside from the analysis of Meyerhold’s productions, the book also offers some interesting insights into the “office politics” of the theater world of Stalinist Russia. We get to learn about some of the stars of that era including the acclaimed actresses Vera Komissarzhevskaya and Maria Babanova.
The book chronicles the last days of Meyerhold’s life. He became one of the millions of victims of the Stalin era for no reason other than he fell out of favor with those in power. The executions of Meyerhold and his wife Zinadia will leave you in tears. A tragic, devastating end to a life whose creative genius knew no bounds. We are fortunate that biographies such as this keep his wonderful talents alive for new generations to appreciate and learn from."
Lesson #60 or 90 min
1. review (previous class)
3. new key terms & definitions
4. monologues & scenes
5. issues & topics
6. questions, discussion, analysis
7. in class work
9. improv & games
12. online, journals
The Laban movements system introduces the participant in certain basic principles of movement that are valid for all living beings. These laws existed always, however Laban managed to categorise them and represent them in a way where space is structured and does not represent vacuum any longer.
Laban for Actors and Dancers: Putting Labans Movement Theory into Practice : A Step-By-Step Guide
Labonatation: Laban’s representation of the movement of the human body, recording human movement (Dancing-Acting)
Laban uses drawings, signs , symbols and shapes, which sometimes are complicated and other extremely simple, to describe SPACE, TIME and WEIGHT.
* Dance notations have been around since the 1500s (Barton, 1994:103).
* Like other writing systems, it makes use of sequence.
As the musician needs to record the precise and minute details of his composition to insure correct performance of his score, so the Choreographer needs a notation capable of equal accuracy Labanotation records the structure of a dance, revealing with perfect clarity each of the specific movements of each performer. Through Labanotation we can actually sit down and compare or analyse different styles of dance (George Balanchine in Hutchinson, 1970:xi,xii).
Hutchinson, A. (1970) Labanotation, Oxford University Press.
Lange, R. ed., (1975) Laban’s principles of Dance and Movement notation, MacDonald and Evans.
Newlove, J. (1993) Laban for Actors and Dancers, Cox and Wyman.
Ullmann, L. (1998) The mastery of movement, Rudolf Laban and Lisa Ullmann.
[ web companion to THR331 Fundamentals of Direction Theatre UAF course ]
This lesson offers improvisational techniques designed to inspire spontaneity and creativity.
Part I: A Little HistoryMoving Notation (Performing Arts Studies) (Hardcover) by BECK -- Moving Notation presents an integrated approach to the study of rhythm and movement notation. These subjects, usually studied in isolation, are here combined to enhance the study of each. This book provides a complete course in rhythm notation, as well as a comprehensive introduction to Labanotation, with cross-references that enable the reader to learn both subjects more quickly and thoroughly. The text is punctuated with Maxims (rules to remember), to help readers consolidate their learning, and "symbol clusters" , a technique for reading music notation and labanotation with increased speed and overall comprehension. $150!
Biomechanics: Understanding Meyerhold’s System of Actor Training Marianne Kubik
Michael Chekhov, Psychological Gesture, and the Thinking Heart Floyd Ruhmor
Theatrical Stillness Mary Fleischer
Teaching Charlie Chaplin How to Walk Dan Kamin
Part II: Body Basics
The Feldenkrais Method® Alan Questel
Alexander Technique and the Integrated Actor: Applying the Principles of the Alexander Technique to Actor Preparation Teresa Lee
An Introduction to Laban Movement Analysis for Actors: A Historical, Theoretical, and Practical Perspective Barbara Adrian
Breathe Before You Act Caroline Thomas
Part III: Transformations
Mask and Ritual Shelley Wyant
The Smallest Mask: The Red Nose Jean Taylor
Discovering Ensemble and Impulse through Improvisation Paul Urcioli
Part IV: Beyond Glove and Fan
Bringing the Past into the Present: Period Dance on the Stage and in the Curriculum Nira Pullin
Shakespeare Honors the Three Centers of the Body Susan Dibble
Some Rehearsal Notes for Molière and Restoration Comedy Style Rod McLucas
Part V: Schools of Thought
The Williamson Technique: The Physical Process of Acting Lloyd Williamson
An Introduction to Margolis MethodTM: A Dynamic Physical Approach to Actor Training Kari Margolis
Movement Training: Dell’Arte International Joan Schirle
Part VI: Inside Out and Outside In
Synergizing Internal and External Acting Jill Mackavey
The Actor as Athlete of the Emotions: The Rasaboxes Exercise Michele Minnick and Paula Murray Cole
Part VII: Moving Forward
Mind-Body Juggling for the Camera Erika Batdorf
Teaching Postmodern Choreography to Actors: Eschewing the Inebriation of Emotion Annie-B Parson and Nicole Potter
SITI: Why We Train: A Conversation between Anne Bogart and the SITI Company compiled by Will Bond
The Problem of Movement Theater Brad Krumholz
An online course supplement * Film-North * Anatoly Antohin * eCitations *
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