Method Acting Homework

* 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?

...

Quotes & Thoughts:

blog.txt -- Director's Notes chekhov.us & teatr.us Tom Stoppard: We're actors. We're the opposite of people.

advanced acting (III) *

topics : film acting * pre-acting * subtext * theatre theory * plays *

Jeremy Irons: "You think, you don't just speak. The lines come off the thoughts." [American Film Magazine] Broadway Tickets
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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 ACTing

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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.

Theatre Dictionary I:

Spring 2003: StageMatrix * direct.vtheatre.net Meyerhold's Theory of Mise-en-Scene + METHOD: Private in Public *
"Don't study text, study feelings and thoughts of your character." Stanislavsky (123)

Summary

Stanislavsky's Seven Questions:

1. Who am I? The kind of person you are. If it is yourself, then you know the answer in the fullest way possible. If it is a character, then you must decide on the background, influence, education, experiences, likes and dislikes, relationships, and inner and outer characteristics. These decisions must be PERSONALIZED and PARTICULARIZED. You must know and understand and IDENTIFY yourself with your character until you can fully believe yourself to exist in her shoes.

2. Where am I? What kind of place is it? What are the colors and textures? What kind of furniture? What does it mean to me? What are the objects in this place? How do I feel about them?

3. When is it? Time of day? What year? What season? Why now? What has happened previously?

4. What do I want? This is your ACTION.

5. Why do I want it? This is your OBJECTIVE.

6. How will I get it? By DOING WHAT to the other characters on stage with me?

7. What must I overcome? This is my OBSTACLE. An obstacle can be an INNER OBSTACLE -- something concerning the inner life of your character, and/or an OUTER OBSTACLE -- something that stands in the way of your character's action.

Method: Yoga

2003 Playscript Analysis (textbook) Modern Drama

Meyerhold @ Work *

meyerhord.us * one act fest Please, read acting for the camera pages in advance: Actors in Film Directing, Film in BM and Camera in Method Acting.

Notes

Actors search for rejection. If they don't get it they reject themselves. ~ Chevy Chase

Anton Chekhov

* 3 Sisters: showcase *
* Uncle Vanya
* Cherry Orchard
* Seagull
* one-acts

One of the things about acting is it allows you to live other people's lives without having to pay the price. I've never been one of those actors who has touted myself as a fascinating human being. I had to decide early on whether I was to be an actor or a personality. Robert De Niro

First Questions: What is the role of my character in the story of the play?

What do the other characters say about my character and why is that important?

Does my character have a dark side?

Why is it important to marry the good and bad in every role?

Approaching a new script for the first time is a voyage that can be approached with ambivalence or a sense of adventure and these are only a few of the questions every actor should be asking at the beginning of rehearsal.

Film: Many actors mark up their scripts with notes for how their character should be acting and feeling in every scene. That way, when director shoots a scene out of order, the notes in the actors' scripts can remind them how to portray their characters accurately.

M. Chekhov

Script Analysis Actor:

Theatre Books Master Page *

[ 1 ] Edith J. R. Isaacs, "Introduction," Acting: The First Six Lessons (New York: Theatre Arts, 1933) 8, Questia, 13 Nov. 2005 . 2006: Beckett Year!

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"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. ACTOR'S HOME WORK
"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
1. PAPER ACTING
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).
READ:

2. REHEARSALS
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.
3. NOTES ON GRADING (YOUR PROGRESS)
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.
II. JOURNALS
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.
III. CHECKLIST
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).
IV. TEXTBOOK
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)
Homework

Jack
[ 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.
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