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"First of all, I choose the great [roles], and if none of these come, I choose the mediocre ones, and if they don't come, I choose the ones that pay the rent." - Michael Caine
Lion King Tickets
Odd Couple Tickets
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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
SummaryOn the Art of the Stage K.S. Stanislavskii, D. Magarshack: Transcripts of the Bolshoi lectures delivered in Moscow between 1918 and 1922 provide an important guide to Stanislvasky's theories.
QuestionsShould I try a new segment in Acting III (workshop)?
Demo Reels: An actor's 'DEMO REEL' is as important as their 8x10!
NotesStanislavsky and Buddhism
Method: Yoga & Freud
To act well and to act well repeatedly has to become an obsession. [Michael Redgrave]
"Until the Actor loses all Awareness of Self; the Character will Never come to Life." - James CaanStanislavsky: "The greatest wisdom is to realize one's lack of it." STANISLAVSKY: A LIFE by Magarshack, David.3 Sisters: ДЕЙСТВИЕ ПЕРВОЕ[ if you read Russian, set "encoding" (right click) to Cyrillic (Windows) ]
В доме Прозоровых. Гостиная с колоннами, за которыми виден большой зал. Полдень; на дворе солнечно, весело. В зале накрывают стол для завтрака.
Ольга в синем форменном учительницы женской гимназии, все время поправляет ученические тетрадки, стоя и на ходу; Маша в черном платье, со шляркой на коленяк сидит и читает книжку, Ирина в белом платье стоит задумавшись.
Ольга. Отец умер ровно год назад, как раз в этот день, пятого мая, в твои именины, Ирина. Было очень холодно, тогда шел снег. Мне казалось, я не переживу, ты лежала в обмороке, как мертвая. Но вот прошел год, и мы вспоминаем об этом легко, ты уже в белом платье, лицо твое сияет. (Часы бьют двенадцать.) И тогда также били часы. (Пауза) Помню, когда отца несли, то играла музыка, на кладбище стреляли. Он был генерал, командовал бригадой, между тем народу шло мало. Впрочем, был дождь тогда. Сильный дождь и снег.
Ирина. Зачем вспоминать!
[ see "3 Sisters" pages in English! ]
The Importance of Being EarnestThe last of acting drama is to make use of the theory for yourself. We began it in Part IV already, but here YOU, not "us," have to make your next step.... I would try to make this part into workbook of sorts...
Part II. Chekhov: 3 SistersThe last part was supposed to be "showcase" -- go to my production notes, I have no time to write now... What I do not have on my acting pages: Period and Style Acting (take some English classes), Voice and Speech (go to Music Dept. -- singing), Movement (ballet or any dance class), other specialised disciplines (too many to list).
Trained Young Actors: "But the Moscow Theater itself was only a part of the organization Stanislavsky created. To train young actors and actresses who show talent for the stage he formed four studios, small theatres in which they were developed until the time when they were ready to take their place in the greater theatre. He added to these undertakings an operatic studio, and in them all, at one time, more than 1,000 persons were employed."
Above: Stanislavsky as Trigorin (Moscow Art Theatre, Seagull by Anton Chekhov). Chekhov loved him as an actor, not as a director.
Method2002: From Inside Out
"Many observations from Bakhtin's study seem to be aimed directly at Bulgakov's intentions, none more so than his comment on Rabelais's travesty of the 'hidden meaning', the 'secret', the 'terrifying mysteries' of religion, politics and economics: 'Laughter must liberate the gay truth of the world from the veils of gloomy lies spun by the seriousness of fear, suffering, and violence.' The settling of scores is also part of the tradition of carnival laughter. Perhaps the most pure example is the Testament of the poet Francois Villon, who in the liveliest verse handed out appropriate 'legacies' to all his enemies, thus entering into tradition and even earning himself a place in the fourth book of Rabelais's Gargantua and Pantagruel. So, too, Bakhtin says of Rabelais:
In his novel ... he uses the popular-festive system of images with its
charter of freedoms consecrated by many centuries; and he uses it to inflict
a severe punishment upon his foe, the Gothic age ... In this setting of
consecrated rights Rabelais attacks the fundamental dogmas and sacraments,
the holy of holies of medieval ideology.
And he comments further on the broad nature of this tradition:
For thousands of years the people have used these festive comic images to express their criticism, their deep distrust of official truth, and their highest hopes and aspirations. Freedom was not so much an exterior right as it was the inner content of these images. It was the thousand-year-old language of feariessness, a language with no reservations and omissions, about the world and about power." [ http://lib.ru/BULGAKOW/master97_engl.txt ]
Lesson #60 or 90 min
1. review (previous class)
3. new key terms & definitions
4. monologues & scenes
5. issues & topics
6. questions, discussion, analysis
7. in class work
9. improv & games
12. online, journals
* new : teatr.us
The first public/academic discussions on Psychodramatic Therapeutics in Canada this author knows of was in a workshop at a 1970 federal government sponsored conference -- Milieu 70 in Winnipeg, Manitoba. The workshop discussed and attempted to analyze the work of neurophysiologist and scientist Dr. P. V. Simonov of Moscow's Academy of Science. Simonov, an internationally celebrated authority on brain process, neurochemistry and behavior, examined and expanded upon the cross-over in the works of Russian thespian and director Constantin Stanislavsky 1863-1938 and the works of neurophysiologist Ivan Pavlov 1849 - 1936.
Stanislavsky wanted his actors to achieve new heights of "becoming" their characters. On the other side of the formula: Pavlov wanted to understand how the mind linked directly to the body in a 'whole' system. Together, the works combined into what is now known as Stanislavsky's Theory of Psychophysical Action.
It works like this: If you combine the complex 'inner monologue' -- inner voice complete with the inherent rhythms, pitch and volume -- of the person you are attempting to become, with the thoughts, physical gestures, activities and attitudes appropriate to that character and his or her circumstance, you will ‘become’ that character.
According to Stanislavsky's theories, this inner voice or ‘inner monologue’ has its own unique, and variable, volume (louder or softer) pitch (higher or lower) and pace or rhythm (faster or slower) which manifest a state-of-mind.
The Winnipeg workshop featured a survivor of schizophrenia who was using inner monologue exercises developed by Stanislavsky's students to maintain a level of mental and emotional stability through focussed self-awareness.
Today, PDT (psychodramatic therapeutics) invites therapists to create theoretical models of a patient's inner monologue. E.g.: a manic individual may have a loud, high pitched and rapid inner monologue which leaves little opportunity or room for outside input to penetrate; a paranoiac might have a very hushed, low pitched and slow paced inner monologue which invites (even recruits) outside input, thereby permitting delusions to be created in an otherwise seemingly empty and vulnerable environment. While these models may only be theoretical, therapists can use them as a base upon which to begin building a therapeutic opportunity.
In fact, through simple exercises, the pitch, rhythm and volume of the individual's own natural inner monologue make themselves evident. Therapists or directors/facilitators can then offer individuals the opportunity to play roles which 'exercise' and ‘stretch’ the range, volume and focus of the inner voice to break it loose from where it may be stuck and to help it to where it is more supportive of the patient's well being.
Often in PDT, the psychologist acts as a 'director'. Sometimes the director would not be a therapist -- instead be a facilitator, working their craft in conjunction with therapists and begin by teaching participants the Stanislavsky Method "in order for everyone to do the best performance possible."
Dr. Simonov was the first scientist to popularly describe The Stanislavsky Method as a “concrete means of conscious influence on neuroses” which by definition cannot be influenced by direct effort of will. His work should inspire thespians, art therapists and psychologists with interest in Psychodrama to reinvestigate the opportunities. This work must credit him with inspiring or inventing Psychodramatic Therapeutics because its language and opportunities emanate from his writings. Certainly he was the first scientist with the credentials to combine an understanding of the diverse disciplines required to scientifically affirm the opportunities."
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