method acting II *
Stanislavsky: Есть воображение с инициативой, которое работает самостоятельно. Оно разовьется без особых усилий и будет работать настойчнно, неустанно, наяву и во сне. Есть воображение, которое лишено инициативы, но зато легко схватывает то, что ему подсказывают, и затем продолжает самостоятельно развивать подсказанное. С таким воображением тоже сравнительно легко иметь дело. Если же воображение схватывает, но не развивает подсказанного, тогда работа становится труднее. Но есть люди, которые и сами не творят и не схватывают того, что им дали Если актер воспринимает из показанного лишь внешнюю, формальную сторону - это признак отсутствия воображения, без которою нельзя быть артистом. - (Аркадий Николаевич Торцов)
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Directing Showcases
ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan

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M-Acting II PS

"The actor is an Instant Analyst." Peter Brook --

Nothing in the theatre has any meaning "before" or "after". Meaning is "now". An audience comes to the theatre for one reason only, which is to live a certain experience and an experience can only take place at the moment when it is experienced. When this is truly the case, the silence in a theatre changes its density and in every form of theatre, in all different traditions and all the different types of theatre all over the world you can see exactly the same phenomenon. An audience is composed of people whose minds are whirling — as they watch the event, sometimes this audience is touched — again we do not really know what "touched" means, except that it is a phenomenon. At first, the audience isn't touched — why should it be ? Then all of a sudden, something touches everyone. At the moment that they are touched an exact phenomenon occurs. What has been up till then individual experiences becomes shared, unified. At the moment when the mass of people becomes one, there is one silence and that silence you can taste on the tongue. It's a different silence from the ordinary silence that is there at the beginning of the performance and it is a silence that can, according to the quality that is lived by the actor, become an experience that is of another quality for the audience, one which each person recognises. This shared recognition expresses itself through the increasing density of the same silence.

In the theatre, one starts rehearsals in a bare room or a bare stage and when the show is over, everything is swept away. At the end of a performance, at the end of a play, it is over. So in a way something is born, something dies and in the empty space no trace remains. One is in a privileged position of observing a process that starts in nothing, ends in nothing but which can reach a totally different nothing in the middle if the exceptional, luminous great silence falls. Repeated experiences show in a concrete way that there is not one nothing but at least two nothings. This may sound linguistically an impossibility but what it means is quite specific. There is a source, out of which comes these grades of quality. When there is no quality at all the zero is purely negative. When, through a whole complex series of factors, everyone is stimulated to an unusual intensity of perception, then the actor, the actor's body, one actor's interrelation with another, the whole group's interrelation with one another all create a new form of interrelation with the audience. Out of this comes a genuine participation of all who are present because there is a living flow that is uniting the separate entities into one field of life. When this happens, the shared experience turns from being a negative zero into a zero that is climbing up a scale of quality, until it eventually reaches a level of perception in which the zero is positive. This vibrant zero, this "nothing" could never be perceived by the same people ! whether performer or audience when their perception level is at its starting point. At this level, Nothing can come from Nothing. The dynamics of performance can bring something out of nothing, until a true nothing that comes from nothing returns to nothing again. [ Peter Brook ]

HamletDreams 2001
* method acting for directors *
Moscow Art 
Theatre - directing theory





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