"Acting is a question of absorbing other people's personalities and adding some of your own experience." - Paul Newman
Lion King Tickets
Odd Couple Tickets
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
Mask & Face
SummaryID -- Very Important Idea in Method Acting! Actor = Character
The Possessed 2003
* one act fest
NotesID in method acting *
ID -- identification. Used in Method. Must read Spectator Pages first.
So, what do you think about Brando' statement?
The Idea of IdentificationInstead of identification (ID) with the character think about racting to the character (Brecht). Distance (through A-Effect) from your character.
Alienation from yourself in order to position your physical and psychological qualities as a material for creating the character. That's what we mean as relaxation and concentration. You have to step out of your Self in order to meet your new identity. Emotional memory means that character searches for similar self in your many selves.
Inner monologue, diary by the character = tool. Reincarnation or resurrection of character.
Training: departure from your habitual traits. Breaking down elements of your natural physicality: walk, hands, voice, etc.
You are your material! Struggle (conflict) with the material.
Actor = Creator + Medium"Creator" is the one who helps (medium -- performer in actor) to connect with the character (especially -- the inner connection). Without this identification (ID), the audience won't be able to connect with you! Public react to the character (good acting), when the actor in within the character. The moment they lose identification with the character, you are in the fiels of bad acting. They see you "act"! The formula is simple: actor > character > spectator, not "actor -- spectator" (this is nothing but a lecture).
If you have no stuctured (actor's choices) ID for your character (interpretation), you can't have any freedom for live performance (improvisation).
Balance between the fixed and the freedom. First, second, third choice. If you don't have at least three, you are not ready to select. Go back and do your homework.
MASTER GESTURE; search in your own habitual movements!
[ a must ](voice)
ET: mister professor?
ET: Do you mean that while acting, I exist as TWO?
ET: Which one is more important?
ET: Even, when I am completely Hamlet, I am still me?Could I do it?
- You can walk, talk and think at same time, right? The more identities -- the better. Three four, five, ten! As a character you should invision the addresses (persons) you are talking to, imaginary, from the past, even from the future! This is why you need to develop the Creator in you, the one who will provide the ideas for the Medium to perform.
ET: Did you say that this is Meyerhold's formula, sir?
- Yes, it will in the test, too.
2008 - acting2
Lesson #60 or 90 min
3. new key terms & definitions (see dictionary)
4. monologues & scenes
5. issues & topics
6. questions, discussion, analysis
7. in class work
9. improv & games
12. online, journals
Read the exploration of characters in WWWilde Forum!
Be personal. Your character has to become a person!
Find the most difficult moment in the play to identify with the character -- and work on it!
In order to identify, you have to UNDERSTAND your character's motivation. Only then your can work on yours (actor's motivation).
Film-North * Anatoly Antohin * eCitations *
© 2005 by vtheatre.net. Permission to link to this site is granted. books.google.com + scholar.google.com
Acting amazon my yahoo: theatre ActorPoint.com - Casting calls! * Use http://vtheatre.net to link to Virtual Theatre pages!