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"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)
film acting:

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System of the Method: since I started a new directory on BioMechanics only, this Acting directory will focus on the Stanislavsky System, known as Method Acting

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
index * BM1 * BM2 * BM3 * BM4 * * 200X * Film Dir * Books * Theatre w/Anatoly * SHOWs * Script Analysis * Acting 101 * Directing * Russian-American Theatre (RAT) * Classes * VIRTUAL THEATRE * Plays * Anatoly's Blog * Meyerhold-Tarelkin


2004: Stage movement includes physical techniques than can be used within any type of theatre performance.
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!

Ready? Action!

For Theatre Theory see THR directory. Also check the Biomechanics!


Vectors: directional motions with within axises.

* 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:
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.

... "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.

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)

2. overview

3. new key terms & definitions

4. monologues & scenes

5. issues & topics

6. questions, discussion, analysis

7. in class work

8. feedback

9. improv & games

10. reading

11. homework

12. online, journals

13. quiz




Class Project (after the midterm)

playsChekhov, Ibsen, Shakespeare - Acting resources, career guides, and casting information.

My Wish List

ReadSpeaker AudioFeed - Podcast of this blog

Structure Your Physical Action!
[ use BM Glossary! ]

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.



Define "moving points" for your character's movement (monologue).
Structure Your Physical Action!

* Stage Movement encompasses various methodologies of body dynamics including Alexander, Feldenkrais, and Laban. These techniques are geared to help the actor gain awareness of the body and to strengthen characterization through the use of the body.
©2004 *
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[ web companion to THR331 Fundamentals of Direction Theatre UAF course ]

This lesson offers improvisational techniques designed to inspire spontaneity and creativity.

film house vtheatre books acting pen map-mining movies-forum
Movement for Actors:
Part I: A Little History

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

Moving 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!

rate An online course supplement * Film-North * Anatoly Antohin * eCitations *
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