2009: acting2 pages & biomech + biomx in Acting1
... filmplus.org/biomx database
I hate to hear actors say things like when I play a King, I become a King, because to me this is really phony talk. You feel what the character you play feels, but not completely. You never lose control. When you kiss on the screen, you don't really kiss. - Sophia Loren
Lion King Tickets
Odd Couple Tickets
Acting in Person and in StyleSubscribe to my Open Class @ 3sisters
Actors on ActingSubscribe to my Open Class @ 12night
The Director's Eye Subscribe to my Open Class @ Directing!
How to Read a FilmSubscribe to Open Class @ 200x Aesthetics
Use The Importance of Being Earnest (Oscar Wilde Online) for class monologues and scenes!
THR121 Fundamentals of Acting
THR221 Intermediate Acting: Biomechanics
THR321 Advanced: Method
GeoAlaska: Theatre & Film
Forums: Realism & Method, Comedy & Biomechnics
We do not offer Advanced Acting II and Advanced Directing (replaced with the senior thesis); contact your advisor.
: days 'til the year 2007! Work!
Method for Directors?
ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
prof. Anatoly Antohin Theatre UAF AK 99775 USA
All three pages on Biomechanics are lost (as many other pages in this directory), best I can do for now is to redirect you to BM Overview in Biomechanics directory
Part I: Script & Actor
2003 * Fall: FIVE APPROACHES TO ACTING (A TEXTBOOK) by David Kaplan, foreword by Stephen Holden, film critic, The New York Times -- recommended by Robert Brustein, American Repertory Theater; Judith Malina, The Living Theatre; Sir Nigel Hawthorne (published by West Broadway Press)
Questions"BioMethod" has only three chapters on BM and I do not have enough time in class even to cover the basics. The original Acting Page is about BM Acting cycles. How to mive from 1-2-3 of movement statements to longer sentences?
Notes[ Biomechanics is a training system for actors which puts the physical ability of acting at the beginning of every theatrical working process. In Meyerhold’s theatre “cultivated” physical gestures are the source material for stage events. No mimesis, no 100 per cent exact copy of “real life” is demanded of the actors. Developing from “nature” and “culture” of human movement, forms corresponding with the specific situation on stage - its liberties and limitations - shall be developed. This way, theatre becomes the creation of a possibility for recognition beyond the ordinary. The “life” of the performer in Biomechanics does not start with the attempt to get a feeling for the situation of the character role. The principle of empathy as developed by Stanislavski in an earlier phase of his methodical work, was one of the points Meyerhoid criticized his teacher for; this actually made him reverse this principle. Stanislavski held the opinion that credible empathy is the means to create credible scenic action, whereas Meyerhold claimed that in the process of physical scenic action, certain consciously chosen postures and movements will be followed by according emotions as a psychic reflex on physical condition. The crude state of these principles was refined enormously in the course of methodical discussions between Meyerhold and Stanislavski. One could even speak of a reconciliation of both points of view. Cultivating gesture remains the starting-point for Meyerhold and consequently, the development of artistic instruments used in a most conscious and versatile manner. These possibilities of development are strongly promoted in the training system of theatrical Biomechanics. ]
* one act fest
The biggest problem is the gap between psychological and physical theatre. One or another. Almost like a specialization.Physicalization and Visualization (targets):
.... from "The Inspector General" (Gogol)
Mr. KDo the Actor's Test:Oh let me tell you! Champaign, caviar! I'm at some party every day of the week. The Canadian Foreign Minister, the French Ambassador, the English Ambassador, The German Ambassador and I play golf till we're exhausted. I'm barely able to drag myself up to my dorm... What nonsense I am talking - I forgot that I live in the mansion. You would be interested to see my reception hall in D.C. before I am even awake in the morning: there are ministers and diplomats jostling each other, bussing like bees - all you hear is bzz, bzz. Sometimes even members of the president's cabinet drop by. At one time I even ran a country. Very curious - the president had vanished, nobody knew where. Well, naturally, there was a lot of talk, "How will we manage?" "Who will replace him?" Many in the congress were eager and took it on - but as soon as they tackled it they saw that the job was too much for them. What seemed easy, but look deeper into it and it is a hell of a tough kind of job! They see there's no way anyone can manage it - so they run to me. And all at once politicians come racing, then more politicians, and more politicians... Think of it - thirty-five thousand politicians! "What's the problem?" I asked, "Sir, come and take charge of the government," they say. I must admit I was a bit taken aback. I came out in my robe, meaning to turn them down. But there, I thought... "Very well, gentlemen, I accept the post, I accept," I said, "so be it.," I said, "only with me, gentlemen, you had better look out! I won't stand for any nonsense. No, sir!" And, as a matter of fact, when I walked through the government offices you would think an earthquake had stuck - they were all trembling and shaking. Oh, I am not one to play games! Even Saadam Hussein, Castro and the United Nations are afraid of me. And well they might be! I am like that! No one gets in my way! I tell them all, "Don't teach me!" I am everywhere! Everywhere! I pop in and out of the White House. Tomorrow they're promoting me to the Chief of Staff!Klestakov's monologue from "The Inve$tor General" based on Gogol.
(Slips and almost falls. All support him respectfully)
* See monologue pages on how to breakdown the text.
Read the online play, if you want to know this character better.
Playing drunk: etudes in class.
In your journals -- character analysis. 5Ws + dramatic structure (1-2-3 elements of composition)
MARY (enters): Oh![Scene from "The Inspector General"] UAF adaptation (1991) -- of course, Mary is Maria (in the original script and there was no mentioning of America by Mr. Gogol).
K: Don't be frightened, miss.
MARY: I wasn't frightened.
K: Oh? But where were you going?
MARY : Really, I wasn't going anywhere.
K: And why, may I ask, aren't you going anywhere?
MARY: You were occupied with important business...
K: But your eyes are more important than any important business. You're incapable of disturbing me! On the contrary, you might offer me much pleasure.
MARY: You talk as they do on television in American movies. Oh, I ought to be going. (Sits down)
K: What lovely jeans!
MARY: Oh you, you are making fun of me. Anything to laugh at us provincial girls.
K: How I wish I were your jeans, that I might embrace you...
(The sofa moves to them)
MARY: I don't understand what you are talking about... Funny weather we're having today.
K: I'd much rather speak to you of my love. Like in great Russian novels! (Drawing his chair closer)
MARY: Love! I don't understand love... I have never known what love means. (Moves her chair away)
K: Why do you move your chair away? It's more intimate sitting side by side.
MARY (moving away): Why side by side? We can be intimate at a distance.
K (moving closer): Why at a distance? We can be even more intimate side by side.
MARY (moving away): But for what purpose?
K (moving closer): Though we may appear to be side by side, pretend we're at a distance.
MARY: What bird was it flew up just now? Or an airplane?
K: Precisely. (kisses her)
MARY: No, that's too much!
K: It was unexpected love, it really was!
MARY: You think I am a common country girl...
K: It was Russian love, true romantic love. I didn't mean any harm, it was only fun. Don't be angry! Oh! I'll even get on my knees to beg your forgiveness. (Falls on his knees) See, I'm on my knees.
(Door opens, ANNA listens behind, ANNA enters)
ANNA: Oh, good heavens! (to MARY) What's the meaning of this!
MARY: Mama, I was only...
ANNA: Leave the room! Out! Go! I don't want to see you!
(MARY leaves in tears)
ANNA: I must apologize for her, sir. I was simply astounded...
K (Throws himself on his knees again): Madam, you see me consumed by love.
ANNA: What, you are on your knees? Oh, get up, get up! The floor is so dusty.
K: No. On my knees. Absolutely! Oh baby, decide my destiny - will it be life or death?
ANNA: Pardon me, sir, I don't fully grasp the meaning of yours words. If I'm not mistaken, you're declaring your sentiments for my daughter?
K: No, I am in love with you. My life hangs by a thread. If you reject my undying love, I am not worthy of earthy existence. My heart ablaze, I ask your hand.
ANNA: But allow me to point out that I am in some sense married.
K: That doesn't matter! Love knows no barriers. We shall flee to America. Your hand, your hand!
MARY (runs in, out and in again): Mama... Papa... says... you're to...
ANNA: What do you want? What is it? Rushing in like a hot cat! No one would believe she's eighteen. When will you finally learn to conduct yourself properly?
MARY (in tears): I didn't realize...
K (Grabs ANNA's hand): Madam, don't stand in the way of our happiness! Give your blessing to our burning love!
ANNA: So it's her?
K: Decide! Life or death?
ANNA (To MARY): There, you silly fool! It was you! It was for trash like you that he was on his knees! Bursting in here like some lunatic! Really, it would be right if I said No. You don't deserve such happiness.
(MAYOR comes in breathless)