* Fundamentals : when will I have time to update this ACTING 101 ? See Acting2 pages!
wwwilde : lib.txt
* one act fest
"Every artist was first an amateur."- Ralph Waldo Emerson
Lion King Tickets
Odd Couple Tickets
If in THR121 Fundamentals of Acting, must subscribe to WWWilde eGroup!
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
In this directory I try to find the web version of the etextbook.
If you can't find what you are looking for in this directory, go down to the 200X Files, or to the Biomechanics and Method directories.
[2002. I hope that by Dec. the pages will get their forms...]
Historical References to "BioMethod": the ideas of Michael Chekhov ( psychophysical approach) - Improvisation as a Method of Rehearsal, psychological gesture, emotional content, conception and role of will, space and action etc.
summaryA word or two about the titles I use for this book -- "Pre-Acting" and "BioMethod"... Pre-acting? I believe that the real acting is done by the public, their dramatic experience is the final text we "write" (using the scripts, which usually assigned this name -- texts). BioMethod? If we believe that the spectator's dramatic experience is the true theatrical result, what the difference HOW do we produce it? Through physical or other actions and means -- use whatever you need to let them LIVE through drama! The division between Method and Biomechanics becomes nothing more than our "stage" business, question of the techniques. So, they, the public, spectators, do ACT, we only pre-act, like conductors and composers who produce the sound out of the orchestra.
questionsWhat a zoo! Two gods, two great directors (Teacher and Master) and now --
notesActing I : BioMethod
* The Myth of the Born Actor
The Purpose of the Stanislavski System: "It should be remembered that Stanislavski was himself a well-trained and skillful actor before he felt the lack in himself which led him to the studies from which he finally evolved the exercises and the discipline which have come to be known as the Stanislavski method. His autobiography is very clear on this point. Through experience, learning by trial and error, by observing great actors and frequently imitating them, he had learned the technique of acting and then had found that technique was not enough. But he never claimed that technique was not essential."
* There are several reasons why the techniques of acting are not so obvious and so easily recognized by either actors or audiences as the techniques of other arts. Perhaps the most important of these is that in the art of acting the artist himself becomes his own instrument, his own medium. The violinist is never confused with either his violin or the musical composition he is playing. Stradivarius created a violin capable of beautiful tone, but his art is not confused with the art of a Kreisler or a Menuhin who plays the violin and brings forth the tone; for it is easily demonstrated that a less capable violinist cannot produce as beautiful a tone from a Stradivarius violin as can a virtuoso and that a master violinist can produce a good tone from a less satisfactory instrument.
Read title and intro pages; it should give you an idea about this directory. I do teach acting; mostly Intermediate and Advanced. I try to introduce the Biomechanics in "acting one" and in THR221 (mostly), doing the Method in the Acting Three.
Maybe I am wrong. Biomechanics is very complex technique -- but the Method is too.
Think about what is the main objective of "Fundamentals of Acting" -- how to cross the line of becoming a professional actor. Remember the Meyerhold's formula (suggested by Stanislavsky): actor = artist + medium? How to start when the both actor-acrist and actor-medium are not developed?
First, to understand the duality of your task. Understand that you have to work on both -- the artistic "body" of actor in you and -- on craftmanship. The connections between the two are obvious, but we need to separate them in order to go deeper into both (professionalism is those specific techniques and knowledge).
Start with this "doubling" (or folding) process: the Greeks believed that any thought processes is a dialogue with onself. Learn how to talk with yourself. Yes, yes, use this "split personality" model -- it's good for any artist. You many voices speaking in you; performance must be multivocal, because you use several different language at once. Separate the composer (artist) and performer (medium) and tech them to help each other.
Again, consider this class as an introduction to both mechanisms of acting (inner and outer) and, when you are ready, move on up!
Acting One is a bit about everything -- Fundamentals and Introduction, required for all theatre majors and recommended (by me) for all undergraduates. How do we start? With this natural appreciation acting. We do like actors and acting. Why? Because the child in me never dies; we love games to play. We better be young -- we need to learn, the whole life is about learning. Theatre is the center of this human gravity, where we start the process in our youth and where we have to return to continue ....
Method -- Apollo [Notes on your Drama and Theatre ancient gods.]
If one doesn't work, go for another technique. You don't have to bother with Method or Biomechanics, if you do not need to.
See Beckett Page: for the class project (Spring 2002 finals) we will be using Endgame.
In acting and directing classes I use one-acts for the second part of the semester.
Start writing your Actor's Journal.
A few words about navigation and the road signs. (I keep working on it!)
The banners and logos you see on my pages:
[ for Mining Film (links & books) ]
[ glossaries and dictionaries ]
[ film list-forum ]
[ Film Analysis pages (class) ]
Flash banner "film.vtheatre.net" takes you to Film Analysis pages.
Popup alert here and there is for my film email firstname.lastname@example.org
New big and tall popup windows slideshow select pages (like the one that came out with this page).
Well, this is in theory, of course. Other signs and symbols are self-explanatory: film books and etc.
[ POV, nonfiction pages ]
and the Film600 directory -- flash banners "Wrong Theories + Bad Subjects" [ film as philosophy ]
Film Directing: filmplus.org/film
flash banner "Directing 101"
200X class Aesthetics ("Arts Through Film"):
logo (small and big)...
Confusing? I pay for Yahoo and Tripod -- and they gave new, shorter domain names:
GeoAlaska = vtheatre.net
Film-North = filmplus.org
Oh, yeah! Virtual Theatre! Several symbols, depending of what aspect of VT is in focus -- stage, film, web and etc.
[ what does it? I don't know. Dancing! ]
Acting One: act.vtheatre.net
Method Acting: method.vtheatre.net
Script Analysis: script.vtheatre.net
Theatre Theory: filmplus.org/thr [ there is a big logo with the naked girl "Theatre Academy & Platonic Girls" ]
Books directories. Film : filmplus.org/books... Easy to remember?
Theatre: vtheatre.net/books -- you see the logo in the right table (not everywhere).
Writing: write.vtheatre.net (Russian)
Plays: plays.vtheatre.net -- did you see this flash banner? Well, this directory for my new plays-in-progress. In Russian. You are in English directory: filmplus.org/plays (click -- and you will get to the title page).
Web: web.vtheatre.net and the flash banner with the same URL. Wait! SHOWS: shows.vtheatre.net -- no logo? I can't believe it!
If you see my photo -- it must something about me: resume, bio, cv... [ one day I will make it better! ]
Film-North * Anatoly Antohin * eCitations *
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