2008 -- Book of Spectator : Method describes state of being of a spectator more than of an actor (who is more of Diderot's model, especially in film).

... lessons of acting2 :

FOCUS : Character into Role : characterization, physicalization, visualization, vocalization [ 3+ levels, including film as "+" ] : dictionary { "4 Zs" -- masterclass? ebook? Total Actor Files? }

[ t-BLOG -- "t" is for Theatre or Theory? ]

Total Actor Files & Film Acting

"Directing as Acting"? [ filmplus.org/thr ]

2010 -- LUL

blog.txt -- Director's Notes

ACTING

...

... * notes for 2009 : online = classes.vtheatre.net | stanislavsky.vtheatre.net + acting.vtheatre.net [ vtheatre.net/pre + vtheatre.net/a + vtheatre.net/d -- new domain names ]

THR321 Advanced Acting * METHOD acting for directors * online forum Realism * amazon.com * T-blog *
I have to act to live. ~ Laurence Olivier
Broadway Tickets
Lion King Tickets
Spamalot Tickets
Wicked Tickets
Odd Couple Tickets

[ advertising space : webmaster ]


2007 updates - 1 * 2 * 3 * 4 * 5
Acting One
PreAct-Title
Fundamentals : BioMethod
act@vtheatre.net

SpectatorBook
Theory of Spectatorship
Dionysis-Biomechanics
Dionysis -- Biomechanics

Apollo-Method
Method -- Apollo

2004: Sign * guestBook * View
Directing Showcases
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
Syllabus
THR215 DramLit
Forums
my eGroups

Method Acting index * 200X * Film Dir * Books * Theatre w/Anatoly * SHOWs * Script Analysis * Acting * Directing * Russian-American Theatre (RAT) * Film Links * My Russian Plays * BioMechanics * Classes Dir * VIRTUAL THEATRE * appendix * links * list * Glossary * Anatoly's Blog *

Method Acting for Directors, 2007

web2.0 and My Method Acting Pages
I do not teach this class anymore and 2007 is the web-year, major updates for my decade online. AA

How to Use This Site

Take notes in class (use your journal, keep it with you all the time). If you don't understand some terminology, go to Glossary. Also, each topic on this syllabus is connected with the appropriate page, but the pages are designed for all levels of acting and directing. If you miss the class, you won't know how much you should know and you will read it all. Don't miss classes.

If you have a legitimate reason for not being in class, you call in, leave a message or email me.

The Master-File with monologues and scenes is in the Library on reserve (select the pages, copy them and put back).

If you don't show up for rehearsals with your partners, they drop you -- they get the grade, you don't.


For Homework and Journal keeping instructions go to the THR221 and Journals pages.

If you want to see a sample of the test on Acting Theory, please, go to Forms & Samples page.

HOW TO WORK with Yourself

You can print out the entire site and use it as a textbook, or mark the selections you need and print them only. Follow the links in each class and read the pages related to the topics. If you need more information, use the outside links on my pages, or search the Net. The text for monologues and scenes are not posted, but in the library on reserve. You can use the monologues and scenes I have on my site, theyíre copyright free (thatís why I can post them). Donít waste your time on search for a perfect-for-you monologue/scene. Go with the instinct, do the cold reading in class; you can change your mind later, when youíll get the feedback from the class. Donít memorize the lines, not till you went through some analysis, dramatic breakdown and develop your idea about the character and movement (floor plan). Donít go through useless read-through in class; we are here to work on your piece, even for cold reading you should have some ideas about the role. Throw them at us, try and test your design!

If you canít make your mind, Iíll select the text for you. We want to have a good performance, not a great literature presented. (Usually they are together, but if a monologue is above your head, go for something you understand and feel for).

Do you have somebody at home or dorm to perform for? Torture them -- tape-recorder is good, but humans are better. Use them to feed you lines, this way youíll get rid of the papers in your hands sooner.

No-no Things: Nobody needs to know that you forgot your line. We donít care for words, we are into acting. Donít stop. Donít apologize, donít curse yourself out loud. Do it later at home.

No-no: Donít get into this ďtalent stuffĒ -- am I talented, I am no good, bad, do I have a potential, I suck, stink and etc. The class is not an academy award, youíre here to get as much as you can out of yourself. Let the others judge you.

Do it: If you donít like somebodyís performance in class, speak up your mind. You donít have to butcher your classmates; imagine yourself doing their material -- how would you have done it? Thatís a constructive criticism for you! Besides, if you donít speak in class, you do disservice to all, including yourself. You donít learn how to articulate your ideas.


Now, go to YOUR CLASS PAGE Summer Acting 1998 to see who is in class, assignments, how you're doing and etc.

On your first day in class all of you have "A"s! Try to keep up good grades!

see t-blog (new 2007)
stagematrix Chekhov

acting.vtheatre.net = stanislavky.vtheatre.net = method.vtheatre.net
Lesson #
60 or 90 min
overview:

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

Links

paperwork

Chekhov Pages
chekhov.us

Class Project (after the midterm)

playsChekhov, Ibsen, Shakespeare

Actingland.com - Acting resources, career guides, and casting information.

* new : teatr.us

ReadSpeaker AudioFeed - Podcast of this blog

Next : total actor files
Spring 2003: StageMatrix * direct.vtheatre.net Meyerhold's Theory of Mise-en-Scene + METHOD: Private in Public *