* (dramatic) conflict and subtext : task and obstacle
* one act fest
2008 : doc.google.com + google base files [links]
Style/format of my webpages (from web.vtheatre.net) :
An article too short to provide more than rudimentary information about a subject should be marked as a stub ... A stub is an article containing only a few sentences of text which is too short to provide encyclopedic coverage of a subject, but not so short as to provide no useful information. Sizable articles are usually not considered stubs, even if they lack wikification or copy editing.
The distinction between dictionary and encyclopedia articles is best expressed by the use-mention distinction: A dictionary article is about a word or phrase; an encyclopedia article is about the subject denoted by that word or phrase.
[ wikipedia ]
* what is missing :
Copy editing (also copy-editing or copyediting) is the editorial work that an editor does to make formatting changes and improvements to a manuscript; copy (as a noun) refers to written or typewritten text for typesetting, printing, or publication.
... how to use filmplus.org/biomx database directory?
"For me, beauty lies not only in the movement but in its context." - Darren Stevenson
Maybe I will fix this directory in the Fall 2002, when I teach THR121 Acting, or in the Spring 2003, when I teach THR221 Acting... or ...
Subscribe to BM Forum and post your questions there. The list is active, when I teach the class, but I keep my forums open. I even answer some questions, if I see that you read the pages and have serious thoughts.
How to use Acting I and III pages?
Fundamentals : BioMethod
Oedipus05: Tragedy & BM
SummaryFinally! BM got its own name -- biomechanics.vtheatre.net
No, it's not medical, but theatre pages!
In Method Acting -- Chekhov, The Three Sisters. For Stagematrix (directing) -- Hamlet. Acting One -- The Importance of Being Earnest by Oscar Wile.
HomeworkI do not think that BM as a course can be fully developed in non-conservatory setting. The same should be said about Method. Maybe it shouldn't be the goal. Applications -- for directing, script analysis and etc.
[ first, read the big old BM directory @ filmplus.org/biomx ]
Exer., exams, tests pages are updated every time I teach the class!
[ The main directory is @ Tripod will be for "members only" when I get the BM textbook published. I try to keep the old directory subject-topics oriented, and this (new) one -- arranged for the THR221 Intermediate Acting class. ]
PSMust hyperlink the pages to the textbook (chapters)! Plus, glossary from the Kaplan's book (5 Approaches to Acting, see contents on this page).
NB"Don’t use your conscious past, use your creative imagination to create a past that belongs to your character. I don't want you to be stuck with your own life. It's too little." Stella Adler
Must post the notes in method.vtheatre.net on:
stage movement list (amazon) *
With the fall of Greece and the rise of the Roman Empire, natural philosophy waned in favor of technology. The second century anatomist, Galen, physician to the Roman emperor Marcus Aurelius, comes and goes, leaving his monumental work, On the Function of the Parts (meaning the parts of the human body) as the world's standard medical text for the next 1,400 years, but nothing like another biomechanician is seen for a long, long time.
Indeed, the advancement of virtually all western science was halted until the Renaissance in the middle of the second millennium. Now we finally come to someone whom we might call a biomechanician of sorts: Leonardo da Vinci. Born poor in 1452 and largely self-educated, da Vinci became famous as an artist, but worked mostly as an engineer. He made substantial contributions to mechanics in the course of pursuing his numerous military and civil engineering projects and imaginative inventions, ranging from water skis to hang gliders. He had an understanding of components of force vectors, friction coefficients, and the acceleration of falling objects, and had a glimmering of Newton's 3rd law. By studying anatomy in the context of mechanics, da Vinci also gained some insight into biomechanics. He analyzed muscle forces as acting along lines connecting origins and insertions and studied joint function. However, delightful as his notebooks are to explore, they were personal and unpublished for centuries, and his brilliant daydreaming had little scientific impact.
Galen's anatomical hegemony was finally challenged when, in 1543, at age 29, the Flemish physician Andreas Vesalius published his beautifully illustrated text, On the Structure of the Human Body. Even so, it took still more centuries for the world to accept fact that Galen had made errors corrected by Vesalius. There is an old story of an anatomist telling a student that the reason the cadaver did not conform to Galen's description was that human anatomy had changed in the intervening thousand years. We smile, though we, too, still get lost in the darkness of our dogmas.
Biomechanics is the science that examines forces acting upon and within a biological structure and the effects produced by these forces. Biomechanics addresses several different areas of human and animal movement.
[ru] - Это биомеханика, - пояснил мне приятель. Биомеханика!! Беспомощность этих синих биомехаников, в свое время учившихся произносить слащавые монологи, вне конкуренции. И это, заметьте, в двух шагах от Никитинского цирка, где клоун Лазаренко ошеломляет чудовищными salto! ...
- Искусство будущего!! - налетели на меня с кулаками.
А если будущего, то пускай, пожалуйста, Мейерхольд умрет и воскреснет в XXI веке. От этого выиграют все, и прежде всего он сам. Его поймут. Публика будет довольна его колесами, он сам получит удовлетворение гения, а я буду в могиле, мне не будут сниться деревянные вертушки. [Bulgakov]
When will I get to "physics" (left) or take it BM II?
updates -- blog? (left)
2005: Oedipus X
They rush... no process, they "playing" result! How to slow them down? To make moves "confessional". Anatoly
2009 and 2010 LUL
If you read "notes" pages, you know what to expect. What is ahead... Because I write them, the notes, for myself. About what I have to do.[ Of course, the most interesting for me is "the scenes with Meyerhold in"; fictional scenes. But when, when I will have time for writing it? ]
I am very much in agreement with Meyerhold that we should know what we can know about acting. I believe that understanding and knowledge create more mystery in art. Craft is something which could and must learn -- and this process leaves us free to focus on what we do not understand, the real stuff. The premise of BM is rather simple: the movement on stage must be choreographed. Yes, like a dance. Step-step - and step...
Everything? Entrance, walk, every gesture?
Yes, if we can't get it right... right away. Study? Yes! Why not? There is a grammar for words, why not for the oldest language -- the body language.
He didn't have time to write about it, looks like I do not have time too, somebody in the future will write about "smart body"... Somebody will break the myth that our brain is fast and our body is slow. No, when I fall my body is fast to react, to protect itself... Can we use it? The instincts. Why not? Don't we already use everything else in our body? Why not examine the "givens" -- something we got before we were born, like gravity, may I mention the physics....
If walking indeed is "falling from one leg to another," could we insert the center of gravity (which is floating from young age down) into this picture and try in class (I do) to see how we struggle within this natural physical conflict to express the age? I ask students: where is the center of gravity in toddler, in woman, in man, in drunk, in old human, in pregnant.... The rest is easy.
Well, this is biomechanics...
Comments on the textbook:
Fall 2003: 5 Approaches to Acting (textbook for Acting 121), David Kaplan
Part I. Task (Method)
Chapter 1. Stanislavsky
Chapter 2. Obstacles
Chapter 3. Stanislavsky's Legacy
Part II. Episodes
Chapter 4. Brecht
Chapter 5. Combining Episodes
Chapter 6. Meyerhold
Part III. Images
Chapter 7. Masks
Chapter 8. The Language of Mask
Part IV. The World of the Play
Chapter 9. Comparison
Chapter 10. Rules
Part V. Telling a Story
Chapter 11. Storytelling
Chapter 12. Dramatic Action
Chapter 13. Shakespeare
Part VI. Comparing Approaches
Chapter 14. Comparing
Chapter 15. Choosing an Approach
Chapter 16. Combining Approaches
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.
The "components" on each page (htmlgears, inserts) are without much of the system: I am guessing -- what are the options for you, hyper-reader? Grammar of Drama? General "Must Read" Theatre Books list? The layout of my webpages is experimental too!
Maybe there are two books, not one. Where to introduce the theory of BM (before we can get to the business of practical applications, the workbook)?
New Organization --
2007 google group pages
Read 12th Night and Mikado, which I'm using in class (showcases, Part 5).
See Don Juan directory, which is used for the Spring 2003 class! The Theatre as Art Edward Henry Gordon Craig [ 1872-1966 ]
I have to come back to this page to eleborate on new terms, before I can move them to dictionary. Even the old dictionary is not updated! Many terms from physics and medical biomechanics must be intergrated into stage language. [ physics page @ film-north BM ]
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
Don Juan, 1910 http://www.theatrehistory.com/russian/meyerhold002b.html
Meyerhold regarded movement, gesture, space, rhythm and "music" as the primary elements of the "language of the theatre." He dreamed of "retheatricalizing" the theatre, of creating a theatre that would give its audience truthful images of life but that wouldn’t seek to imitate or copy life.
A director should, according to Meyerhold, begin his work in rehearsal with the search for form. And this search begins with the creation of a "movement score" for the production. The director’s task is to create "a pattern of movement on the stage" by means of a "deft mastery of line, grouping and costume color" (V. E. Meyerhold quoted in Braun). Movement on the stage is created not only by "movement in the literal sense, but by the disposition of lines and colours and by the ease and cunning with which these lines and colours are made to cross and vibrate" (V. E. Meyerhold quoted in Braun).
"video.txt" [ clips ]
Method & Biomechanics: From Gestalt perspective body is a personification of inner life; it is materialized contact-boundary between inner world and environment. Body and its gestures are what another person can experience. We can look at body experience as a key to awareness of feelings, needs, and wishes. Idea of wholeness of spiritual and physical dimensions were presented in actors masterpiece school of Stanislavsky and M. Chekhov.
An online course supplement * Film-North * Anatoly Antohin * eCitations *
© 2005 by vtheatre.net. Permission to link to this site is granted. books.google.com + scholar.google.com | acting amazon