method acting one @ virtual theatre * --

Method Acting for Directors I.3

"We acknowledge a God, and a Son (His Logos), and a Holy Spirit. These are united in essence—the Father, the Son, and the Spirit." (Athenagoras AD 175)
ACTOR & Dramatic Text: the GodHead model -- Trinity

2006: Godot

2008 -- Stoppard

From the moment of the appearance of [the Magic] If the actor passes from the plane of actual reality into the plane of another life, created and imagined by him. In order to be emotionally involved in the imaginary world which the actor builds on the basis of a play, in order to be caught up in the action on the stage, he must believe in it. . . . This does not mean he should give himself up to anything like hallucination, . . . quite the contrary. . . . He does not forget that he is surrounded by stage scenery and props. . . . He asks himself: "But if this were real, how would I react? What would I do?" . . . And normally, naturally . . . this If acts as a lever to lift him into a world . . . of creativity.

The secret of the effect of If [is] that it does not use fear or force. Another quality: it arouses an inner and real activity. . . . an instantaneous inner stimulus, . . . adds a whole series of contingencies based on your own experience in life, and you will see how easy it will be for you sincerely to believe in the possibility of what you are called upon to do on the stage. --An Actor Prepares
--My Life in Art

theatre theory -- act

At moments of intense creativeness one's memory may fail . . . and break the continuity of the line of transmitting the verbal text of the play. . . . This preoccupation with remembering the words, when an actor is unsure of himself . . . deprives him . . . of the capacity to give himself up freely and . . . wholly to his ardent creative mood. . . . It is all important for an actor to have a good memory. -- Collected Works, Vol. I

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