2008 acting2 2009
... "same" page for method.vtheatre.net ? Or -- reference?
Total Actor Files : updates after 2009
* 2007 THR221 *
Lion King Tickets
Odd Couple Tickets
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
SummaryI. Objective: Very simply, this is what you want in the exercise. Think in terms of needs; the more dynamic and essential the need, the more fuel you'll have to make your story interesting and compelling. There should be two objectives: one that is a long-term, overriding objective, the other should reflect a short term objective that you will attempt to accomplish over the course of the exercise that will help you move closer to achieving the larger objective. This section can -- and should -- be stated in two sentence: "I want to _____________. In order to get this, I have to _______________."
II. Obstacles: What is in the way of you getting what you want? There are two segments to this that should be clearly and explicitly identified: internal and external. External refers to all of the things outside of yourself that keep you from achieving your objective. Internal refers to those things inside of you that get in your way. Internal obstacles are usually best thought of in terms of fear, i.e., what you are afraid will happen if you achieve your objective. All obstacles work toward creating tension and conflict, which are essential to an interesting story.
QuestionsDo you have both (objective and obstacle)? If not, you are in trouble.
2004-2005 textbook for Acting One
Method: Yoga & Freud
Script Analysis Actor:
Theatre Books Master Page *
... scenes + SS [ scene study ] pages
...Have a very good reason for everything you do. -- Laurence OlivierFirst -- dramatic text, second -- your movement in space and time.Online with Yahoo: Film Directing & 200X Aesthetics *
Print your monologue and start working on your Actor's Text (write in your stage directions)
Read monologue pages! First, get the comedy.
PSAlso, see Scene Study (second part of the semester).
Most of your answers are there, in the script. Read your mono again, read the scenes again, read the play again, read more about the play and plays. Go back to you monologue! Write about the process in your Actor's Journal. Read what wrote -- and write about what you wrote...
[ Find the dramatic composition of your monologue (scene) -- does it all three main parts? (Exposition, Climax, Resolution). ]
What is the conflict in your situation, character?
HomeworkFloor plans. Put the drawing on the back of your printed monologue (with your NEW additional stage directions) -- I'll collect it in class. The grading this homework is easy: if you have at least many stage directions as the whole original text, you might expect "A"!
This is a beat-by-beat account of the story you are telling. Tell it in the first person, present tense, making it as active as you possibly can. In other words, this story is happening to you and it is happening now. Your scenario should begin prior to the start of the exercise and continue past the end point of your exercise. In writing the scenario, the more detailed you are, the better, but make sure that all of the details contribute in a significant way to the telling of the story. While there are many ways to tell a story, your story should, in some way, address the following questions:
1. WHO AM I?
For the Uta Hagen exercises, you will always be yourself. But in life, you are always different, depending on the very specific circumstances that you're engaged in. Who are you this time? What is your present state of being? How do you perceive your self? What are you wearing and how does that affect how you perceive yourself?
2. WHAT ARE THE CIRCUMSTANCES?
Basically, this is everything that affects the story that you are telling. Be very thorough and specific in your exploration of the circumstances that surround the story you are telling. Explore questions such as
• What time is it? (The year, the season, the day? At what time does your selected life begin?)
• Where are you? For the Hagen exercises, your story should always take place in doors in a room that you are very familiar with, preferably a room in your house, apartment or dorm.
• What surrounds you? (The immediate landscape? The weather? The condition of the place and the nature of the objects in it?)
• What are the immediate circumstances? (What has just happened prior to the start of your story? What do you expect or plan to happen next and later on?)
3. WHAT ARE YOUR RELATIONSHIPS?
These include everything that surrounds you, including the people who affect the story that you're telling. It also includes your relationship to the circumstances, the place and the objects that you connect with during the course of your story.
4. WHAT DO YOU DO TO GET WHAT YOU WANT?
This is probably the most important aspect of your storytelling, for these are the actions that drive you toward achieving your objectives. This is what you do, moment by moment, in pursuit of your objective. It should also take into account how you adjust to what happens as you pursue your objective.
[ from rice.edu ]
Method (Stanislavsly System) approach to drama analysis: from inside. "Psychological Realism" -- emotional continuety. Just follow the text, let playwright speak first. This is why after general auditions ("cattle call") we have "cold reading" -- to see how you can take direction from your first director -- writer. If you don't know how to do it, you won't be able to take directions from director and public. If you don't know how to take, you do not know how to give.
Theatre Biomechanics? Pay attention to stage directions, set descriptions, pauses: it will slow down your reading, let the text to breath, give youself some environment to react.
Biomechanics (BM) is most powerful at the second and third stages working on character (transforming it into Actor's Text = performance), don't push "acting" (especially, physical acting) while working on your "first draft" of the role. You are not ready, too many things are not develop inside you. If you ready to try the scene or monologue improvisationaly (in your own works), let the BM work...
NBRead Structure Page in BM. And again -- Go to theory directory! Yes, on acting! 24hour-act, acting, audience, auditions, directing, director, rehearse, system and more!
Comedy -- The Inspector General, Wedding, Tobacco, Bear, Taming of the Shrew, 12th Night, Don Juan (Moliere)
Drama -- 3 Sisters, Williams, (movies)
Tragedy -- Oedipus, Hamlet
MODERN -- finals
WWWilde, Acting I Showcase
You silly boy! Of course. Why, we have been engaged for the last three months. Yes, it will be exactly three months on Thursday. Well, ever since dear Uncle Jack first confessed to us that he had a younger brother who was very wicked and bad, you of course have formed the chief topic of conversation between myself and Miss Prism. And of course a man who is much talked about is always very attractive. One feels there must be something in him, after all. I daresay it was foolish of me, but I fell in love with you, Ernest. On the 14th of February last. Worn out by your entire ignorance of my existence, I determined to end the matter one way or the other, and after a long struggle with myself I accepted you under this dear old tree here. The next day I bought this little ring in your name, and this is the little bangle with the true lover's knot I promised you always to wear. Yes, you've wonderfully good taste, Ernest. It's the excuse I've always given for your leading such a bad life. And this is the box in which I keep all your dear letters. [Kneels at table, opens box, and produces letters tied up with blue ribbon.] I remember only too well that I was forced to write your letters for you. I wrote always three times a week, and sometimes oftener. The three you wrote me after I had broken of the engagement are so beautiful, and so badly spelled, that even now I can hardly read them without crying a little. On the 22nd of last March. You can see the entry if you like. [Shows diary.] 'To-day I broke off my engagement with Ernest. I feel it is better to do so. The weather still continues charming.' It would hardly have been a really serious engagement if it hadn't been broken off at least once. But I forgave you before the week was out.
[ Wilde, The Importance of Being Earnest, analysis ]
More -- in Acting II and III, also, directing classes.
"9 Squares" [ floor plan ]
See SHOWS directory for samples!
film breakdown (shots)
Finale (read online "The Importance of Being Earnest)
* home * about * guide * classes * advertise * faq * contact * new * forums * mailing list * bookstore * ebooks * calendar * submit your link * web * Bookmark *©2004 filmplus.org * @2001-2003 PreActing * Make FILM w/ANATOLY your homepage -- click here! Get Site Info
webmaster links glossary plays notes help new contents home * All scripts and texts on this site are intended for educational purposes only! * my notebook THEATRE * 2008 blog
my yahoo: theatre ActorPoint.com - Casting calls! * Use http://vtheatre.net to link to Virtual Theatre pages!
Film-North * Anatoly Antohin * eCitations *
© 2005 by vtheatre.net. Permission to link to this site is granted. books.google.com + scholar.google.com
act home: archive * new * guide * appendix * glossary * links * list * popup * faq * books * biblio * references * notes * webmaster * blog * keywords * swicki * flickr * acthome * virtual theatre domains * contents * store * acting swicki *