2009 & After : teatr.us
I began the Total Actor's Files in order to say what I do not say in my classes.
Not only for that reason only, of course.
NTL, I say -- a lot of people should take acting classes at all!
Take geography. It wouldn't hurt you, it's not personal.
In Intro to Acting One, I wrote about ones who shouldn't be in Acting Two class, but they make it to Acting Three, sometimes.
There is not God. "Acting God," I mean.
We all know who is the god of actors, don't we. This fellow likes to tourcher sinners: I know, I am one of them.
All right, if you insist -- come in.
Did you take any acting classes before?
Why do you want to be actor?
I am serious. If do not consider acting carrier, acting 2 would be more than enough for you.
Why is your answer sounds like any other other answer to this question?
Why do you have no answer?
Acting is half shame, half glory. Shame at exhibiting yourself, glory when you can forget yourself. -- Sir John Gielgud (quoted in The Ages of Gielgud, ed: Ronald Harwood, 1984)
Lion King Tickets
Odd Couple Tickets
[ advertising space : webmaster ]
Theory of Spectatorship
3 SISTERS: showcase
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
What could I say? There are so many gaps in Method Acting. I am not talking about how to drink "Brown Bear," for example. I am talking about the basics, how to mix it! The elements of the System!
Maybe you, cyber-people, the aliens, the surfers, do not understand that human are mortal and act out of fear, that we need it (read my pages on existentialism in SCRIPT directory), that the System was developed by generations of Russian Actors and Stanislavsky, God give peace to his soul, only sunnarized it! Mixing brandy with vodka could be very dangerous, especially, if you do not know how to use it (Brown Bear).
I write about it, because there many things that are tabboo in this new century, which entered by pure accident. About Theatre and Drinking, for example. We all know that there is connection between the two, but won't talk about it. Look, stage is not for children or animals. How can you act 3 Sisters without experience to be drunk? Yes, it's acting, but you cannot confuse "Brown Bear" with "Polar Bear" (two different animals and two different drinks). No, no, no!
So, I will tell it all. Do not use "Brown Bear" unless you are advanced!
Go fo the "Northern Lights" ... not many even saw it. So sad. How can I talk about the System, Method, Acting, Stanislavsky, when you you do not know how the White Nights looks like? Don't mix anything! Don't drink. This is what I did, I spent years reading good books.
Nevertheless, about the Northern Lights. It's a special. Not in Alaska, you can have for free, driving from the campus... No, I am talking about the System and Method. "Northern Lights" is a special mix...
LIVING A PART
Therefore, no matter how much you act, how many parts you take, you should never allow yourself any exception to the rule of using your own feelings. Salvini said: "The great actor . . . should feel the thing he is portraying . . . not only once or twice while he is studying his part, but to a greater or lesser degree every time he plays it, no matter whether it is the first or thousandth time."
Always act in your own person. You can never get away from yourself. The moment you lose yourself on the stage marks the departure from truly living your part and the beginning of exaggerated, false acting. Spiritual realism, truth of artistic feelings . . . these are the most difficult (achievements) of our art, they require long, arduous inner preparation.
The difference between my art and that [practiced by others] is the difference between "seeming" and "being."' --An Actor Prepares
Address: 3282 Adams Dr. apt 204b
Address: 3282 Adams Dr. apt 204b
THR 321 (3 Credits) Advanced Acting (h)Do you still want to take acting class with me?
Refinement of physical, emotional and imaginative awareness. Introducing a variety of character building methods. Study and performance of scenes and short plays. Method Acting, in depth Character Development and Acting for the Camera intensive. (Prerequisite: THR 221, or permission of instructor Next offered: 2005-2006). (1 + 4). Offered Alternate Fall.
IntroMethod acting is the endeavour to apply natural rules and laws to the theatre which can aid an actor with the process of playing a role.
This approach, characterized by any specific or technical approach to acting, is usually the antithesis of cliché, unrealistic, and so-called "rubber-stamp" acting. Depending on the exact version taught by the numerous directors and teachers who claim to propagate the fundamentals of this technique, the process can include various ideologies and practices such as the the extremely notable "what if", "substitution", and "emotional memory".
The modern movement often called method acting is also often referred to as "the Stanislavski System" after Konstantin Stanislavski who pioneered the ideas in his teachings, writings, and acting. His most influential books are the autobiography My Life in Art, and his trilogy of books set in a fictionalized acting school as a pretense for his own teachings, "An Actor Prepares", "Building A Character", and "Creating a Role". [ Wikipedia ]In BioMechanics Glossary you see "vectors" (easy to understand, when we are talking about physical movement), but it would be really good to apply vectors to emotions. To indicate not the emotional spot, where I am, but where I am going! Objective and motivation would fall in place right away!2005: Intermediate and Advanced Acting *
I guess, we have to talk first about the limitations...
"He who considers things in their first growth and origin will obtain the clearest view of them," wrote Aristotle. So what are the origins of acting?
[ updates -- 2005 ]
Film & Theatre UAF (catalogue) *
SummaryBookmark the method.vtheatre.net pages!
TOPICS: Relaxation * Sense Memory * Concentration * Magic If * Objects * Substitution * Animal Exercise * Song & Dance * Private Moment * Speaking Out * Moment-to-Moment * Justification * Affective Memory * Givens * Strasberg
System of the Method is "Stanislavsky for Directors" -- how to work with actors, what both sides should know.
QuestionsWhy do I need this new directory? Because I move my act.vtheatre.net into a directory, where Method and Biomechanics have to merge!
HomeworkTake one monologue and two approaches: method & biomechanics.
NotesMain - act.vtheatre.net: BioMethod -- THR121 Fundamentals of Acting
See Dictionary; if you know most of the terms, consider level II or III. Check out the Tests and Exams to determine what you know. You are an advanced actor, use subject pages or go to the Biomechanics directory.
You you feel that it's all above your head, start with the 200X Aesthetics core course.
Also, must know something about directors, right? See Directing Pages.
When I am done with the draft of the book, I will place it as one file.
Next : notesSpring 2003: StageMatrix * direct.vtheatre.net Meyerhold's Theory of Mise-en-Scene + METHOD: Private in Public *
new: Method + Biomechanics @ act.vtheatre.net
You see, now I have to make extra pages and this is one of them -- a page to organize other pages (in addition to the old Acting Guide page).You die, character lives!
There are two main approaches I use in dealing with actors, both are well known: Method and Biomechanics.
Well, I use anything as long as it helps my actors or me.
I never have much time to talk with them. The rehearsal time is always limited and I have to find fast ways for them to get their ROLES.
Remember, director gets the script first, now it has to become yours, not his!
Director is your reading advisor, a performance helper!
He will die in actor, if actor dies in his character! (Stanislavsky, of course)
...ACT III. SCENE II. A hall in the castle.Hamlet (HamletDreams)
[Enter HAMLET and Players]
HAMLET. Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue: but if you mouth it, as many of your players do, I had as lief the town-crier spoke my lines. Nor do not saw the air too much with your hand, thus, but use all gently; for in the very torrent, tempest, and, as I may say, the whirlwind of passion, you must acquire and beget a temperance that may give it smoothness. O, it offends me to the soul to hear a robustious periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings, who for the most part are capable of nothing but inexplicable dumbshows and noise: I would have such a fellow whipped for o'erdoing Termagant; it out-herods Herod: pray you, avoid it.
First Player. I warrant your honour.
HAMLET. Be not too tame neither, but let your own discretion be your tutor: suit the action to the word, the word to the action; with this special o'erstep not the modesty of nature: for any thing so overdone is from the purpose of playing, whose end, both at the first and now, was and is, to hold, as 'twere, the mirror up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure. Now this overdone, or come tardy off, though it make the unskilful laugh, cannot but make the judicious grieve; the censure of the which one must in your allowance o'erweigh a whole theatre of others. O, there be players that I have seen play, and heard others praise, and that highly, not to speak it profanely, that, neither having the accent of Christians nor the gait of Christian, pagan, nor man, have so strutted and bellowed that I have thought some of nature's journeymen had made men and not made them well, they imitated humanity so abominably.
First Player. I hope we have reformed that indifferently with us, sir.
HAMLET. O, reform it altogether. And let those that play your clowns speak no more than is set down for them; for there be of them that will themselves laugh, to set on some quantity of barren spectators to laugh too; though, in the mean time, some necessary question of the play be then to be considered: that's villanous, and shows a most pitiful ambition in the fool that uses it. Go, make you ready.
Being another character is more interesting than being yourself. John Gielgud
©2005 filmplus.org *
@2002-2004 vtheatre.net * Get Site Info
visual style (changes) :
* Use http://vtheatre.net to link to Virtual Theatre pages!
keys : profile.to/anatoly
After 2009 : Total Actor Files and Theatre LUL School