* BioMethod * The subdirectories (1, 2, 3, 4, 5) are not developed yet! * acting one *
This page is for myself and it has two wings: Students and Instructors pages. Questions of pedagogy: when, what and how to introduce to students.
Lion King Tickets Spamalot Tickets Wicked Tickets Odd Couple Tickets Fall 2004:
If in THR121 Fundamentals of Acting, must subscribe to WWWilde eGroup!
![]() Three Levels: THR121 Fundamentals of Acting THR221 Intermediate Acting: Biomechanics THR321 Advanced: Method ![]() GeoAlaska: Theatre & Film Forums: Realism & Method, Comedy & Biomechnics Spring 2002: Dangerous Liaisons, Spring 2003: Don Juan
We do not offer Advanced Acting II and Advanced Directing (replaced with the senior thesis); contact your advisor. ![]() theatre books : 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 I do not want to use the structure from the Method directory, but what is the new one? Biomechanics = Acting II. Method pages should be limited to three, like BM pages?
![]() Should we go straight for The Importance of Being Easnest (cold reading) to see what they know, what they can do and with the monologues in parallel? Fall 2002: Acting Onstage and Off, Barton 0155084909 ![]() The Possessed 2003 Apollo and his twin Artemis were the children of Zeus and Leto. He was raised by Themis,* who fed him on nectar and ambrosia, and provided him with bow and arrows made by Hephaestus. On leaving Delos he made for Mount Parnassus where the giant serpent, Python, lived.
Dionysos is the son of Zeus, chief of the Olympians, and Semele, a woman of Thebes, according to the most used geneology. Dionysos is the god of wine and madness, vegetation, and the theatre, and was the focus of various mystery cults.
[how long will take to introduce the two and other visual Greek categories? In themes, script analysis directory or 200x Files?]
![]()
SummaryI do not want to touch the subjects you can find in any acting textbook. I try to write only on topics I myself couldn't find but I need to introduce them in my acting classes. NTL, sometimes I have to be repetitive (couching); there are the basic tools you must get into your blood from the start. There is no way around it!QuestionsThe directory must be turned into a STORY -- missing narrative? When I can do it?NotesI don't know why it takes so long to fix this directory; the little pages (like list) take a lot of time. I didn't think about service pages at all, but where else can I list the online monologues and scenes?![]() * one act fest ...
|
[ another lost page ]Fall 2003 -- new textbook; I have to get back to this directory.
My team leaders (Stanislavsky, Meyerhold, Apollo, Dionysos) -- who and when take stage? (Scenes)
I have to rewrite the main THR121 syllabus?
[ "Notes" pages are for myself -- should I keep them in subdirectoreis? ]
I will be working on Biomechanic in the Spring 2002, not on Method pages, see the Text-only Method pages for now.
Jesus! What to do with the pages in theory directory! Yes, on acting! 24hour-act, acting, audience, auditions, directing, director, rehearse, system, warmups and more!
BioMX (Theatre Biomechanics) If we believe the Marxist formula: thesis + anti-thesis = synthesis, we must focus on bridging Stanislavsky and Meyerhold (Stan. late ideas about "Method of Physical Action" and M. -- "smart body" + Gurjgiev's energy and etc.)
&Research in Theatre Theory directory?
Sense Memory --> Short Memory --> Long Term (natural process)
Emotional Recall = reversed process.
It has to go through "body recall"?
I will do with Acting Directory what I do with the Method Acting (using The Three Sisters production and text as a showcase for the Part 5), but here I would stay with The Importance of Being Earnest. Go to the SHOWS directory and read Oscard Wilde. Read the coments and analysis (and the discussion at WWWilde Forum. I will be using monologues and scenes in class!
Old Method Acting Directory
2008 - acting2
Lesson #60 or 90 min2. overview 3. new key terms & definitions (see dictionary) 4. monologues & scenes 5. issues & topics 6. questions, discussion, analysis 7. in class work 8. feedback 9. improv & games 10. reading 11. homework 12. online, journals 13. quiz 2004 * ![]() new show text links floor plan history final book ![]() Actingland.com - Acting resources, career guides, and casting information.
|
You exist only in what you do. (Federico Fellini)
Check out both BM and Method directories to see where do we go!
After ACTING directory -- Biomechanics, and then -- Method. Acting One, Two, Three = Fundamentals, Intermediate, Advanced.
If you have a legitimate reason for not being in class, you call in, leave a message or email me.
The Master-File with monologues and scenes is in the Library on reserve (select the pages, copy them and put back).
If you don't show up for rehersals with your partners, they drop you -- they get the grade, you don't.
If you want to see a sample of the test on Acting Theory, please, go to Forms & Samples page.
If you can’t make your mind, I’ll select the text for you. We want to have a good performance, not a great literature presented. (Usually they are together, but if a monologue is above your head, go for something you understand and feel for).
Do you have somebody at home or dorm to perform for? Torture them -- tape-recorder is good, but humans are better. Use them to feed you lines, this way you’ll get rid of the papers in your hands sooner.
No-no Things: Nobody needs to know that you forgot your line. We don’t care for words, we are into acting. Don’t stop. Don’t appologize, don’t curse yourself outloud. Do it later at home.
No-no: Don’t get into this “talent stuff” -- am I talented, I am no good, bad, do I have a potential, I suck, stink and etc. The class is not an academy award, you’re here to get as much as you can out of yourself. Let the others judge you.
Do it: If you don’t like somebody’s performance in class, speak up your mind. You don’t have to butcher your classmates; imagine yourself doing their material -- how would you have done it? That’s a constructive criticism for you! Besides, if you don’t speak in class, you do disservice to all, including yourself. You don’t learn how to articulate your ideas.
JM (John Malkovitch): Never. I do it for the money.
![]() |
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