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Film Acting * Actors ought to be larger than life. You come across quite enough ordinary, nondescript people in daily life and I don't see why you should be subjected to them on the stage too. ~ Donald Sinden
Theory of Spectatorship
3 SISTERS: showcase
theatre books
Dionysis -- Biomechanics
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
THR215 DramLit
my eGroups
Summary
Fall 2003 updates are @ act.vtheatre.netQuestions
I don't that I can cover all five parts in Five Approaches to Acting, but 1. Getting to the Task (Stanislavsky), 2. Playing Episodes (Biomechanics & Epic Theatre), 3. Building Images -- maybe.Part IV. Inhabiting the World of the Play and Part V. Telling a Story -- for Acting II?
Method: Yoga & Freud
Notes
I have to explain the difference between actors and acting *
Unfinished business from Acting One: "Who is your favorite actor?" I ask. The answers are so generic, they could apply to any and all of them ("uniques, creative, dramatic" and etc.) "What is his/her secrect?" I ask... They behave as customers, not the cooks. Appriciation instead of practice! I need the secret recipes by the star-actor (how else they became "starts" if nor the novelty of their products). Silence. "Don't you understand, I want to know, so I can repeat it, do it by myself?" I need it, I have to develop my own secret formulas and tricks...
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Alfred Hitchcock: Well, for me, it all starts with the basic material first. Now, the question of when you have the basic material... you may have a novel, a play, an original idea, a couple of sentences and from that the film begins. I work very closely with the writer and begin to construct the film on paper, from the very beginning. We roughly sketch in the whole shape of the film and then begin from the beginning. You end up with around 100 pages, or perhaps even more, of narrative, which is very bad reading for a litterateur. There are no descriptions of any kind - no 'he wondered', because you can't photograph 'he wondered.'
AH: The method actor is OK in the theatre because he has a free space to move about. But when it comes to cutting the face and what he sees and so forth, there must be some discipline. I remember discussing with a method actor how he was taught and so forth. He said, "We're taught using improvisation. We are given an idea and then we are turned loose to develop in any way we want to." I said "That's not acting. That's writing." And that is why method actors today always turn up on set with a new script.
Vasiliev: Последние годы я стал разрабатывать метод, который позволял бы инициативу от режиссера передать актеру, разрешал бы актеру стать автором своей роли. На первых порах мне удавалось, но у этого прекрасного начинания оказалось свое трагическое завершение. В конце концов актер -- автор своей роли, превращается в актера -- анархиста своей роли. Режиссер теряет управление труппой и -- навсегда, причем чем выше мастерство актера-анархиста, чем выше его превосходство, тем больше он настаивает на безоговорочной самостоятельности. Когда все звезды самостоятельны, очень трудно удержать в мире эту карту звезд, невозможно. Свобода для актера приводит к разложению его личности.
IMITATION
In my . . . admiration for a great actor I attempted to imitate him. . . . This has its good and its bad side: copying a great example can train you in a good pattern, but it also checks your individual creativeness. . . .I was only repeating what the other person had experienced in his emotions. . . . Since my imitation was purely external . . . I strained myself physically to produce feelings. . . . Finally I realized the simple truth that such an approach to a part can never produce the image [of a character]. --My Life in Art * Stanislavsky
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