"Without wonder and insight, acting is just a trade. With it, it becomes creation." - Bette Davis
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System in Theatre Theory directory
Once I told you about the plummer, who came to fix the toilet. He is a professional, I am not; if I could, I would do it myself. But, look, do you want to deal with the plummer, who needs his motivation and inspiration to fix the toilet? I don't think so.
Every time actors ask me this question about motivation, I ask back -- What is your take? You should have YOUR idea first. There are many simple little things you have to know.
If I see that you struggle without getting it, I will step in, but you have to be initiator, you are the first. I consider it professional relations between partners in theatre business. If I don't like it, I tell you. If I don't, you are on the right track.
The Relaxation! Do you want me to my director's exercises in front of twenty actors? Do you care how I do it? I direct. Teaching is a by-product of directing shows.
I complain, because sometimes I feel that I'm losing my mind. This plummer doesn't come to teach me how to fix toilets and meditate before it -- I am not interest, this is not my BUSINESS. I prefer to come home and see that my toilet is fixed, working -- that's professional.
Same with you, actors. You can't be busy with all those questions that are not your PROBLEMS!
Don't teach, even yourself! Learn. Be simple. Your body is different from the rest of us, the same with your mind, soul, spirit, will. Yes, you don't know yourself completely, but knows you better than you?
So, Stanislavsky said, take yourself seriously, actor. Do your work!
Theory of Spectatorship
3 SISTERS: showcase
Dionysis -- Biomechanics
ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
prof. Anatoly Antohin Theatre UAF AK 99775 USA (907)474-7751
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Summary"The first, and most important master [is] feeling..." (Stanislavsky 82)
QuestionsThe most important thing in acting is honesty; once you've learned to fake it, you're in. ~ Samuel Goldwyn
NotesA novelist may lose his readers for a few pages; a playwright never dares lose his audience for a minute. ~ Terence Rattigan
Acting: The First Six Lessons. Richard Boleslavsky - Publisher: Theatre Arts Inc. New York 1933.
- The First Lesson: Concentration
Diderot thought that something similar applied to the presentation and expression of emotion on the stage. In an essay entitled The Paradox of Acting, he argued that the actor needed to strip away unnecessary gestures, unnecessary props, and indeed any aspect of the performance that distracted from the communication of feeling to the audience, or did not positively contribute to the communication of feeling. The performance should be a studied exercise in ‘pure’ emotional expression, rather than a raw and spontaneous outpouring of the actor’s feelings.
Diderot’s paradox: to be more expressive and assertive, we need to be less spontaneous, less free. [According to this principle, we need to work all aggression out of our speech habits, whether this aggression is directed against ourselves or against others].
Order of Importance:
1. author -- Author is the star: play of words. Author gives story, character, dialogue. Actor gives it life.
2. audience -- Entertain the audience. Key to play. Most important character is the audience.
3. actor -- What does it have to do to the audience, what should it accomplish? Actor has all the judgment, not the director.
4. director -- Does scene do what the story requires? Director is an observer. A series of variations from actor. Director picks one.
[ abwag.com ]
Focus: Actor Homework: The Script & The Artist's Notebook
Script Analysis Actor:
Theatre Books Master Page *
Dion Boucicault, "The Art of Acting": "... the study of character should be from the inside; not from the outside! Great painters, I am told, used to draw a human figure in the nude form, and, when they were proposing to finish their pictures, to paint the costumes; then the costumes came right. That is exactly how an actor ought to study his art. He ought to paint his character in the nude form and put the costume on the last thing."At end of his life Stanislavsky was interested in yoga; maybe because our western take on actor's soul (Freud) has it's limitations (intellectual approach). I do not know how to bridge the two --In the creative process there is the father, the author of the play; the mother, the actor pregnant with the part; and the child, the role to be born. Stanislavsky
Everything about Method is requirement that what you do on stage must MAKE SENSE!
I will touch only a few well known principles:
Motivation (Justification) -- why do you (character) do what you do. Why did you go to the table? Or why you didn't. What was the REASON? What is the MEANING of it?
Do you know when I ask? When I do not understand or do to see it! I don't even care do you know or not what is your motivation as long as it is there.
Public Solitude -- "private in public"... You, actor, is on public, but Hamlet!
Stage Fright -- Take Yoga classes or something, or go to the church instead of the movies. What is this nonsense? If you are not in character, of course, you will afraid to be on public, because you have no business to be on stage! Who doesn't fear the challenge of the event? athlet, politician? The fear is the ENERGY, use it!
Animal Exercises -- ... no, this stuff is not this book!
Magic If ...
I don't speak on such matters. Because if you consider professional acting, you should know it already
Second, it's personal -- you have to find you own way, which works for you.
Third, a book is a bad couch.
Besides, what do I know about warmups? I am a director, my actors with a few shows behind are better leaders in warmups.
So, I will stick to what I know, what I do, what I practice. The unknown is for you to learn. Unknown? You and your mix the character you are about to play.
Above: Stanislavsky as Trigorin (Moscow Art Theatre, Seagull by Anton Chekhov). Chekhov loved him as an actor, not as a director.
Method2002: From Inside Out
descriptions: -- and the sequences.
PSStay focused: make your character into your role! Everything else is secondary.
Mind your own business: evaluate everything according to main task. Make sure that blocking, costume, makeup, prop and etc. serve you (your character).
HomeworkKeep working on your portfolio (monologues for auditions). Even we, on campus, require our majors to audition every Sept. (even if they don't plan to be in the season's productions). Stay in shape!
[ textbook assignments ]
NBStanislavsky: «Ñèñòåìà» - ïóòåâîäèòåëü. Îòêðîéòå è ÷èòàéòå. «Ñèñòåìà» - ñïðàâî÷íèê, à íå ôèëîñîôèÿ. [ The "System" is only a guide. Open and read it. The "System" is factbook, not a philosophy." ]
In stages, I guess.
To place in topics (top bar): emotional recall, dual consciousness, inner monologue, subtext [ new pages? ]
Where and when?
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
* new : teatr.us
The Four Pillars of Acting:
I. style --
II. emotion --
III. objective --
IV. sense memory --
* Use http://vtheatre.net to link to Virtual Theatre pages!
© 2006 by vtheatre.net. Permission to link to this site is granted. books.google.com + scholar.google.com chekhov pages index
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