* BioMethod * The subdirectories (1, 2, 3, 4, 5) are not developed yet! * acting *
|"Acting is when they say… I can't believe they can do that in front of me" - Lee Strasberg
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
SummaryWedding by Chekhov (class one-act project)
* one act fest
I've worked hard as a person, and as an actor, to fight my way through shyness. It's our responsibility as human beings to share with others. Being shy and withdrawn is selfish. Michael Douglas
This is the most painful zone. Remember Meyerhold's formula: "actor = medium + creator"? To talk about the second is difficult, you have to be personal. I know that I have to cross the line and ask questions we do not usually ask. The secrets -- and in front of the others. It doesn't matter, do we try physical acting or the System. Example?
Cast yourself in "The Importance of Being Earnest" -- and now lets talk about your own physical attributes you have to create a role out of the character. So, who are you? Cecily, Lady Bracknell? Do you have a big breast, or you are a flatcheasted? Well, this is a comedy and we have to make strong choices; we have to make them laugh. Where is your OWN center of gravity? You you have a big cheast, we have to make even bigger! Your center of gravity is in front of you! Remember the "moving points"? Your cheast must lead your entire body, this is where your Lady Bracknell's movement begins. She moves it first, when she gets up and turning around....
Look, this is only the start: now we are to focus the public on your choice -- the reaction of your partners on stage. How about Jack's reactions to the breast? Go extreme! This is the place where your Lady Bracknell's power is -- if Jack can talk "the breast" into liking him, he can get his Gwen.... Well, he will need more help from you -- how about if we can find such kind of laughter, that the whole "thing" will bew shaking? How about the "master gesture" (posture, hands and etc. to stress the IT)?...
Oh? No big boops? Let us make her skinny... very flat. We will go into the oposite direction and again to the extreme!
Well, you write in your journal, how you want to start shaping Lady Bracknell -- if she is tall, short, fat....
Only when actors crossing this initial resistance, we can start working. And have fun.
Alas! The real problem is ahead... Does Lady Bracknell have sex? When did she have last time? How? You see, the intimate questions about you are coming...
2008 - acting2
Lesson #60 or 90 min
1. review (previous class)Class Project (after the midterm)
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
Chekhov, Ibsen, Shakespeare
Simposia, Discussion, FeedbackDionysos: Total actor? I like it.
Apollo: Theatre of One?
Meyerhold: Actor of the future, my friends.
Stanislavsky: The ideal actor.
* BioMethod * The subdirectories (1, 2, 3, 4, 5) are not developed yet! *
THE TAMING OF THE SHREW ACT IV SCENE V A public road. [Enter PETRUCHIO, KATHARINA, HORTENSIO, and Servants] PETRUCHIO Come on, i' God's name; once more toward our father's. Good Lord, how bright and goodly shines the moon! KATHARINA The moon! the sun: it is not moonlight now. PETRUCHIO I say it is the moon that shines so bright. KATHARINA I know it is the sun that shines so bright. PETRUCHIO Now, by my mother's son, and that's myself, It shall be moon, or star, or what I list, Or ere I journey to your father's house. Go on, and fetch our horses back again. Evermore cross'd and cross'd; nothing but cross'd! HORTENSIO Say as he says, or we shall never go. KATHARINA Forward, I pray, since we have come so far, And be it moon, or sun, or what you please: An if you please to call it a rush-candle, Henceforth I vow it shall be so for me. PETRUCHIO I say it is the moon. KATHARINA I know it is the moon. PETRUCHIO Nay, then you lie: it is the blessed sun. KATHARINA Then, God be bless'd, it is the blessed sun: But sun it is not, when you say it is not; And the moon changes even as your mind. What you will have it named, even that it is; And so it shall be so for Katharina. HORTENSIO Petruchio, go thy ways; the field is won. PETRUCHIO Well, forward, forward! thus the bowl should run, And not unluckily against the bias. But, soft! company is coming here. [Enter VINCENTIO] [To VINCENTIO] Good morrow, gentle mistress: where away? Tell me, sweet Kate, and tell me truly too, Hast thou beheld a fresher gentlewoman? Such war of white and red within her cheeks! What stars do spangle heaven with such beauty, As those two eyes become that heavenly face? Fair lovely maid, once more good day to thee. Sweet Kate, embrace her for her beauty's sake. HORTENSIO A' will make the man mad, to make a woman of him. KATHARINA Young budding virgin, fair and fresh and sweet, Whither away, or where is thy abode? Happy the parents of so fair a child; Happier the man, whom favourable stars Allot thee for his lovely bed-fellow! PETRUCHIO Why, how now, Kate! I hope thou art not mad: This is a man, old, wrinkled, faded, wither'd, And not a maiden, as thou say'st he is. KATHARINA Pardon, old father, my mistaking eyes, That have been so bedazzled with the sun That everything I look on seemeth green: Now I perceive thou art a reverend father; Pardon, I pray thee, for my mad mistaking. PETRUCHIO Do, good old grandsire; and withal make known Which way thou travellest: if along with us, We shall be joyful of thy company. VINCENTIO Fair sir, and you my merry mistress, That with your strange encounter much amazed me, My name is call'd Vincentio; my dwelling Pisa; And bound I am to Padua; there to visit A son of mine, which long I have not seen. PETRUCHIO What is his name? VINCENTIO Lucentio, gentle sir. PETRUCHIO Happily we met; the happier for thy son. And now by law, as well as reverend age, I may entitle thee my loving father: The sister to my wife, this gentlewoman, Thy son by this hath married. Wonder not, Nor be grieved: she is of good esteem, Her dowery wealthy, and of worthy birth; Beside, so qualified as may beseem The spouse of any noble gentleman. Let me embrace with old Vincentio, And wander we to see thy honest son, Who will of thy arrival be full joyous. VINCENTIO But is it true? or else is it your pleasure, Like pleasant travellers, to break a jest Upon the company you overtake? HORTENSIO I do assure thee, father, so it is. PETRUCHIO Come, go along, and see the truth hereof; For our first merriment hath made thee jealous. [Exeunt all but HORTENSIO] HORTENSIO Well, Petruchio, this has put me in heart. Have to my widow! and if she be froward, Then hast thou taught Hortensio to be untoward. [Exit]