* 2007 : FOCUS : Character into Role : characterization, physicalization, visualization, vocalization [ 3+ levels, icluding film as "+" ] : dictionary { "4 Zs" -- masterclass? ebook? Total Actor Files? }

old page -- but important! Book?

online classes?


chekhov.us & teatr.us Tom Stoppard: We're actors. We're the opposite of people.

advanced acting (III) *
Jeremy Irons: "You think, you don't just speak. The lines come off the thoughts." [American Film Magazine] You cannot act "The System"; you can work on it at home, but when you step out onto the stage, cast it aside, there only nature is your guide. Stanislavsky

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I had to move this file from THR221 Intermediate Acting, to make sure that all actors do it, the homework!

I do not know how to stress the importance of YOUR homework -- in my opinion this is the segment of actor's training which "makes or breaks" you.

Many simply do not understand what does it mean. They miss that in any art the 90% of work is doon in "secret" -- on your own and by you only! Many wait to be direct -- and this is the trap -- the waiting. you have to learn how to work all the time, how to research, search, collect, build, etc.

"Imagination! Imagination! I put it first years ago, when I was asked what qualities I thought necessary for success upon the stage. And I am still of the same opinion. Imagination, industry [hard work], and intelligence--the three I's--are all indispensable to the actor, but of these three the greatest is, without any doubt, imagination." Ellen Terry

Actor's Homework

Theatre Books *
Yes, ActHome!

Home Acting... "The actor's art," he said, "cannot be taught. He must be born with ability; but the technique, through which his talent can find expression -- that can and must be taught. An appreciation of this fact is of the utmost importance, not only to students of acting but to every actor who is interested in the perfection of his art. For, after all, technique is something which is perfectly realistic and quite possible to make one's own." [1]


"I learned acting by doing it. And although I had never taken an acting class, it didn't take long to learn how to be on the stage. All you have to do is to be humiliated in front of an audience a few times. If you don't like being humiliated publicly, you learn how to act." Ron Vawter


Actor's Roadmap
Students are expected to spend, on the average, two hours in preparation per each hour of course credit. Thus a course carrying 3 term credits should require six (6) hours per week of preparation.

There are four (4) performance grade sessions in class: comedy and drama monologues, midterm scene, and (finals) Video projects and live presentations. Your dramatic piece must be memorized and "Actor's Script" of this material must be submitted before the presentation.

Actor's script includes: text breakdown (stresses, your stage directions, introduction of props), floor (ground) plan with your movement through the piece, and the character analysis (objectives, obstacles, character's history).



Rehearsing alone or with the partner guarantees you having good time in this class. Usually, most common complains that your partner didn't show for a scene work. Look for another one, make it her or his problem. Since this is a contact course, you can't sit through the class without participation. Missing a class without a good reason (emergency situation only, documented) is un-restorable experience. If you are not prepared for class, let your instructor know, don't skip the class.


This is an acting class -- your progress, not your talent will be graded. Our time in class designated for exercises, not lectures: students expected to do text reading at home before each class, with reflections on reading in ACTOR'S JOURNAL. You have problems in class? Write about it.


The goal of ACTOR'S JOURNAL is to develop your analytical skills of understanding acting -- speech, voice and movement. Because of the personal nature of such a discipline as performance, this journal should contain your reflections on your class and life experiences, your difficulties, problems, and confusions; you have to learn how to evaluate your weaknesses and strengths.

In your journals I expect to see reflections on our readings and observations of public figures in our contemporary life, actors, your friends, etc. - what is impressive in their live presentations, why, when? If not on a daily basis, then at least three entries per week (300 words each) in your journal will give you a sense of progression in your performance. There will be three check point when your professor will read and comment on your journal. Your journal is a way to communicate with yourself and your teacher; it's confidential and won't be discussed in class. The first submission of this journal is before the break, second -- last day of classes.

Remember, this journal is your professional diary; use it as an important tool in self-improvement, as a working notebook and a true mirror. This is the place for questions and resolutions, for analysis and ideas. Your work on your projects should be written down in all its stages; from text analysis to the final script breakdown. Your journal is your "paper"; please write it in "readable" form. (the real winners are those who use computer!) In your observations of yourself and others, use our terminology as much as possible; try to be specific.

Make a habit of keeping this journal writing and keep this habit though your entire life.


Resume is your first assignment. You have to bring a draft of your actor's resume to class on our second meeting. After the corrections you still keep working on your resume which you submit (final draft) at the finals. This is a part of your actor's portfolio. In addition to resume you have to have two monologues (dramatic and comedy) and a scene (modern or classic). Also, you have to be ready for improvisational scene. After this class you should know the basics of Method Acting (Stanislavsky System).

EXTRA WORK AND EXTRA CREDIT: Not happy with your performance in class and with your grades? Take on extra work; additional monologue, participation in extra scene with others, write a paper on acting (character study, play analysis, scene break down).


The chapters must be read before the class; we review your reading only. Ask questions, or write in your journal reflecting on reading. Read ahead, the best results you can get if you complete the book by midterm and have enough time to apply the theory in your acting.

Check the catalogue for Acting Classes offerings: Theatre UAF.

The secret of the great acting is simple -- HOMEWORK!

On the set you only SHOW what you labored behind the scenes!

Read "Actors on Acting"! (THR321 Textbook)



[ The Importance of Being Earnest ]
JACK. [Slowly and hesitatingly.] Gwendolen - Cecily - it is very painful for me to be forced to speak the truth. It is the first time in my life that I have ever been reduced to such a painful position, and I am really quite inexperienced in doing anything of the kind. However, I will tell you quite frankly that I have no brother Ernest. I have no brother at all. I never had a brother in my life, and I certainly have not the smallest intention of ever having one in the future.
MAT-RAT We cannot change anything unless we accept it. Condemnation does not liberate, it oppresses. Carl Jung

Educational Theatre lessons *