2009 : Students and Teachers Stanislavsky was called Teacher, Meyerhold -- Master. Later appeared another monstrosity -- Master-Teacher... The Greeks introduced it -- teaching, but they knew nothing about Departments of Education. If they only knew. "Teach" and "Couch"! And other comic characters from vulgar drama. Please, do not teach, NEVER, I was saying to myself. ... 2009

Actors are the opposite of people. - Tom Stoppard Ни учебника, ни грамматики драматического искусства быть не может и не должно. (Stanislavsky, 1906) students page The Teacher was both: Actor-Director Stanislavsky: Как эта книга, так и все последующие не имеют претензии на научность. Их цель исключительно практическая. Они пытаются передать то, чему меня научил долгий опыт актера, режиссера и педагога. (Actor & Self) Summary Konstantin Stanislavsky discovered a manner of working with actors so that they will fully traverse into the character they are playing. "You cannot create a director- a director is born...a true director comprises within his own person a director-teacher, a director-artist, and a director-administrator. What can we do if one has these qualifications where another has not?" (Stanislavsky) The director prepares an actor for a role by allowing her to use what's inside herself, their memories, to create the character and connect with the situation. Actors use their own experiences to slip into the role. They must think about what they are trying to achieve by finding the "objective" (What's my motivation here?), then the actor can begin acting. Stanislavsky calmly works with the actors one on one. He watches, for a week or two, as the actor plays the role on their own, and when they become comfortable with it and its personality, he intervenes and begins to mold the actor. Questions Another, second page, is notes for myself -- rethink what must be introduced, where, how and when... Anton Chekhov * 3 Sisters: showcase * * Uncle Vanya * Cherry Orchard * Seagull * one-acts Notes There are several Chekhov's one-act comedies I use for class projects in my acting-directing projects (finals): Wedding, On the High Road, Proposal, Bear. [public domain] Handbook of the Stanislavsky's Method * Film acting pages are new -- should be done while we do Monologue Study. What about Yoga, Freud and Vakhtangov pages (new)? Script Analysis Actor: Theatre Books Master Page * To the Actor: On the Technique of Acting by Michael Chekhov, Nicolai Remisoff; Harper & Row, 1953 - Chapter 1: The Actor's Body and Psychology - Chapter 2: Imagination and Incorporation of Images - Chapter 3: Improvisation and Ensemble - Chapter 4: The Atmosphere and Individual Feelings - Chapter 5: The Psychological Gesture - Chapter 6: Character and Characterization - Chapter 7: Creative Individuality - Chapter 8: Composition of the Performance - Chapter 9: Different Types of Performances - Chapter 10 How to Approach the Part stanislavsky.ru = system.ru [ru] for myself: SYNOPSIS OF MODULE INDICATIVE READING LIST OR OTHER LEARNING RESOURCES OUTLINE SYLLABUS AIMS OF MODULE LEARNING OUTCOMES PREREQUISITES LEARNING, TEACHING AND ASSESSMENT STRATEGY * Theorising Performance teach page in classes [directory] + instructors ...

Philosophy, Credo Page

In Acting One (THR 121 Fundamentals) it is an introduction to acting: Improv, Games, Basic Knowledge how to deal with the text.

Acting Two (a href=http://afronord.tripod.com/classes/221.html>THR 221 Intermediate Acting) I introduce Biomechanics with the emphasis on physical theatre.

Three -- THR321 Advanced Acting is focud on Method.

---

I have to break up my long CV and post different portions of it in different places.

Trained in Method Acting I did my research mostly in Meyerhold's theories; Biomechanics for actors and Scenometrics for staging.[2] In classroom and productions I use both, depending on the situation - our theatre program serves two main categories of students, around 30 majors with professional orientation, and a lot of students, who take theatre as a liberal arts subject.

Academically and administratively I believe in dichotomy of globalization and specialization in education; our concentration at UAF is the Theatre of the North. "Tuma" program focuses on Native performance and Russian Theatre as an ongoing exchange with leading Soviet artists (A RUSSIAN CHRISTMAS TALE was designed by Danila Korogodsky, and we had Alexander Zhurbin, composer and vice president of Soviet Musical Theatre Guild, for residency at UAF). "Core Curriculum for New Russia; American experience" was developed with other departments of the College of Liberal Arts (ask for papers).

Students: Most of our majors are in acting, and after establishing of the Student Drama Association (SDA) and transforming producing responsibilities to students for "Winter Shorts", a student directed one-acts season, they got practically unlimited possibilities for performance. We developed a Handbook for majors and conducting professional seminars/workshops such as Auditions, Resume Preparation, Portfolios and etc.

Our season consists of three components: main stage productions done by faculty and guest-directors, guest companies and "Winter Shorts" (see season brochure). For publicity we usually mail 30.000 season advertising brochures for subscribers, publishing at least four times a year our newsletter (3.000 circulation). [For UAF Theatre audience development and fundraising see 1991 report.]

We have close creative cooperation with other departments; musical directors, musicians, composers, singers from faculty and music majors; set and posters - Arts Department, Alaska Native Studies, Northern Studies and others. Also, team teaching.

Because of our active professional life we have good relations with administration, Vice Chancellors on Research, Academics, as well as with the Dean, Chancellor, President and Faculty Senate. Theatre UAF is the main force for the university Public Relations on state and community levels. We teach for Summer Arts Camp, Fairbanks Summer Arts Festival (International), direct, design for local community theaters such as Fairbanks Light Opera and Fairbanks Drama Association, Children Theatre, Eskimo Olympics, Stage Readings, Open Stage and etc.

(Written in 1992, when I was a department head)

This page is for my colleagues... Myself.

"Public educators, like Soviet farmers, lack any incentive to produce results, innovate, to be efficient, to make the kinds of difficult changes that private firms operating in a competitive market must make to survive." Carolyn Lochhead

PS. And only the presence of private institutions forces the public education system to make some changes.

- Information is something the VENDOR sends
- Learning is what the VISITOR does

Carl R. Rogers in his book "Freedom to Learn," says:

"Teaching, in my estimation, is a vastly overrated function.....I see facilitation of learning as the aim of education."

Next: uaf

"Method Acting for Directors"? I have to rethink it all, if I indeed plan to do the textbook. "How to work with actors" should start with book for actors on "how to work with yourself." Who is this "mini-director" in each actor? Each of them have to find one, train and develop this director ("creator" in M. formula).

Should I keep "Instructor's Diary" as I plan for Fundamentals of Acting? Where is the place for it? Notes? Comments? "Dialogues" with the Master-Teacher and the characters?

There are two heavy areas: foucs on spectator (auditions, audience, spectator) and several pages like act (BM), acting, actors, dramact are not clear in their aims...

4.18.04. Anatoly