2007 scene study acting2 [SS]What acting means is that you've got to get out of your own skin. -- Katharine Hepburn
"This ABC and grammar of acting, are, comparatively speaking. not difficult, although in mjority of cases they take years to acquire. Without them it is impossible to live on the stage, impossible to forget one's self, impossible to throw one's self wholeheartedly into one's part and bring real life on to the boards." Stanislavsky. 488
Meyerhold and Pavlov's THEORY OF ASSOCIATION. Also, Ilinsky on Biomechanics, 504
Scene samples in SHOW directory (what is the logic in going from "The Importance of Being Earnest" ot "12th night" and to "The Three Sisters"?)
[ Pages numbers from "Actors on Acting" textbook ]
How to use monologue theory for scene study and how scene study can help you with your monologues **
Summary
Do what we did during the monologue study: after cold reading, you homework (Actor's Text).
Moments, Beats, Scenes, Acts.
The hierarchy of action: three acts (screen play), or nine steps? ABC of coposition; after your identify the three main parts, each has to be broken into three segments (exposition has its own "exposition"). Next -- beats of action. Use the "tule of three" again.
ET: And do I do if nothing works?
-- Welcome the problems. When you know that something doesn't work, you can fix it. It's worse when you are not aware that something is in your isn't working. Do it in front of anybody new -- get the feed back. Redo your "Actor's Text" -- and try again. If you are using classics, trust it -- the answer is in there. Use improv as rehearsal technique: do the scene in your own words.
ET: What is I have "bad" parner?
-- Your character is your business. Didn't you see bad movies with great perfomances? Even if your partner doesn't "give" -- you have to know how to react, as if it is there. Nothing and nobody can stop you! Not bad partner, bad script or bad director!
scene analysis: 1. Major change (climax, turning point, crisis)?
2. Conflict?
3. Themes?
Text Breakdown and The Score of the Role (the sequence of objectives)
The Through-Line and the Superobjective
Stanislavky: "In a play the whole stream of individual minor objectives, all the imaginative thoughts, feelings and actions of an actor should converge to carry out this superobjective...
Also this impetus toward the superobjective must be continuous throughout the whole play."
Immediate Objective
Beat Objective
Scene Objective
Super-objective
The Dynamics of Inner Conflicts (Characters) and The Conflict of the Scene
Read pages on Meyerhold in "Actors on Acting" (p. 501) [extra] (Spring 2003, a new textbook).
"The whole technique of bio-mechanics lies in the careful study of the time of preparation for a certain action: of the emotional and physical state of the moment of action itself; and the resulting anti-climax of reaction" [502]
Each partner must do the homework, according to Monologue pages. Develop the floor plan, blocking together.
The same law of dramatic composition: exposition - climax - resolution. For the same -- and for the characters.
Meyerhold: "reality should be created in the minds of the spectator rather than on the stage" + Stanislavsky: "First, it has to be created in minds of actors."
HOME WORK
I use the first page of Hamlet. I give them a single page with two guards on watch to find the beginning, the climax and the end of it. Here it is:
ACT I. SCENE I.
Elsinore. A platform before the castle.
[FRANCISCO at his post. Enter to him BERNARDO]
BERNARDO Who's there?
FRANCISCO Nay, answer me: stand, and unfold yourself.
BERNARDO Long live the king!
FRANCISCO Bernardo?
BERNARDO He.
FRANCISCO You come most carefully upon your hour.
BERNARDO 'Tis now struck twelve; get thee to bed, Francisco.
FRANCISCO For this relief much thanks: 'tis bitter cold,
And I am sick at heart.
BERNARDO Have you had quiet guard?
FRANCISCO Not a mouse stirring.
BERNARDO Well, good night.
If you do meet Horatio and Marcellus,
The rivals of my watch, bid them make haste.
FRANCISCO I think I hear them. Stand, ho! Who's there?
[Enter HORATIO and MARCELLUS]
HORATIO Friends to this ground.
MARCELLUS And liegemen to the Dane.
FRANCISCO Give you good night.
MARCELLUS O, farewell, honest soldier:
Who hath relieved you?
FRANCISCO Bernardo has my place.
Give you good night.
[Exit]
Mark the exposition, climatic moment and resolution. Go for next page to continue the study of EXPOSITION
KO. Pooh-Bah, it seems that the festivities in connection
with my approaching marriage must last a week. I should like to
do it handsomely, and I want to consult you as to the amount I
ought to spend upon them.
POOH. Certainly. In which of my capacities? As First Lord
of the Treasury, Lord Chamberlain, Attorney General, Chancellor
of the Exchequer, Privy Purse, or Private Secretary?
KO. Suppose we say as Private Secretary.
POOH. Speaking as your Private Secretary, I should say
that, as the city will have to pay for it, don't stint yourself,
do it well.
KO. Exactly--as the city will have to pay for it. That is
your advice.
POOH. As Private Secretary. Of course you will understand
that, as Chancellor of the Exchequer, I am bound to see that due
economy is observed.
KO. Oh! But you said just now "Don't stint yourself, do it
well".
POOH. As Private Secretary.
KO. And now you say that due economy must be observed.
POOH. As Chancellor of the Exchequer.
KO. I see. Come over here, where the Chancellor can't hear
us. (They cross the stage.) Now, as my Solicitor, how do you
advise me to deal with this difficulty?
POOH. Oh, as your Solicitor, I should have no hesitation in
saying "Chance it----"
KO. Thank you. (Shaking his hand.) I will.
POOH. If it were not that, as Lord Chief Justice, I am
bound to see that the law isn't violated.
KO. I see. Come over here where the Chief Justice can't
hear us. (They cross the stage.) Now, then, as First Lord of
the Treasury?
POOH. Of course, as First Lord of the Treasury, I could
propose a special vote that would cover all expenses, if it were
not that, as Leader of the Opposition, it would be my duty to
resist it, tooth and nail. Or, as Paymaster General, I could so
cook the accounts that, as Lord High Auditor, I should never
discover the fraud. But then, as Archbishop of Titipu, it would
be my duty to denounce my dishonesty and give myself into my own
custody as first Commissioner of Police.
KO. That's extremely awkward.
POOH. I don't say that all these distinguished people
couldn't be squared; but it is right to tell you that they
wouldn't be sufficiently degraded in their own estimation unless
they were insulted with a very considerable bribe.
KO. The matter shall have my careful consideration. But my
bride and her sisters approach, and any little compliment on your
part, such as an abject grovel in a characteristic Japanese
attitude, would be esteemed a favour.
POOH. No money, no grovel!
[Exeunt
[ two males, comedy ]
PS
[ Another lost page! Since in this directory I try to combine Method and BioMX; read the sister page Scenes in BM ]
Questions: What are relations between your objective/obstacle and your partner's?
How to use improv for the scenes introduction and the scene study for the improv techniques?
[ each acting and directing website has "SS" -- scene study page! ]
[ "Investor General" -- my 1991 adaptaion/translation of the "Inspector General" by Gogol ]
Scene 2: Two Wrongs
(K runs into MAYOR and DOB who enter, long pause)
MAYOR: How do you do, mister American?
K: Hello.
MAYOR: Excuse me... It is my duty, as chief official of the town,
to see to it that travelers suffer no inconveniences...
K (at first stammering a bit, but speaking loudly toward the end of the speech): It's not my fault. I'll... honest, I'll pay... They'll send money from home. (BOB peeks in from behind the door) Blame your Aeroflot, your rail road and bank system, your
telecommunications, your government, not me! Why me? This is
outrageous!
MAYOR (frightened): I'm very sorry. If you don't like here, may I suggest you accompany me to other lodgings...
K: What?! How dare you? By what right? I know what you mean!
You cannot throw an American citizen in your jail! I'll write to
Moscow, to Washington! I, I, I... Even if you came with your
whole police department, I won't budge! I'll talk to the
president! To all the presidents!
MAYOR: Sir, forgive me, I have a wife, little children...
K: What? Just because you have a wife and children, I must go
to jail? Great!
MAYOR: My inexperience, sir, merely inexperience. Everything is
just falling apart. The country, our moral principles and
infrastructure. Plus the insufficiency of my income - my salary
isn't enough for instant coffee and baby food. Desperation and
confusion, confusion and desperation! Don't ruin our dreams!
The economy needs your investment, people are working unemployed.
Communists could come back any minute. Today I'm a mayor,
tomorrow a party chief again! Just think what it does to my
brains!
K: Why are you telling me about all that stuff? Your income is
a very different matter, but you can't imprison me. No, you're
not big enough for that! And I'll pay, only I don't have any
cash on me now.
DOB (to Mayor): Oh, what a smoke screen! Millionaire - and has no money?
He is testing us!
MAYOR: Money? Did you say - money? If you're in need of money or
anything else, sir, I'm at your service. It is my civil and
humanitarian duty to assist visitors to the town.
K: Really? You mean it? All right! Give, give me some money!
(Taking the money, counting) Oh! Much, much obliged! I'll send
dollars to you the minute I get home.
DOB (to Mayor): Praise the Lord! He took the dough. Now we are sailing!
K: Jo! (Jo enters) Settle with the hotel. (JO takes money,
exits) That's Russia! Now I see that you are true Russian
souls.
DOB (to MAYOR): You must be bolder, sir. He wants to stay undercover.
MAYOR (to DOB): Fine. We can bluff too, as if we don't know who
he really is. (To K) Dob and me - Dob is the businessman,
total democrat and city councilman - since we were in the
neighborhood on an official trip, we made a point of stopping in
to determine whether the guests are being treated properly
according to the Christmas spirit. Some mayors may not concern
themselves with the welfare of humanity, but I, I insist that a
good reception be extended to all races, minorities and animals.
Not only because my position demands it, not because of duty,
sir, but also out of my democratic love for every mortal. But
may I ask, sir, what parts are you from?
K: Alaska. I am on my way home from Moscow.
MAYOR: Alaska? Our next door neighbor! Excellent! I imagine
you're traveling for your own pleasure, sir?
K: No, I am a graduate student. But my dad sent for me. The
old man is upset because I haven't gotten anywhere with my
studies in Russia. Well, I'd like to see him scrambling in
Russian universities for a while.
DOB (to MAYOR): Just listen! A student! He's tough! He's even dragged in
his old father!
K: My dad is stupid and stubborn as a log. I tell him straight
to his face: I must travel! Go from one university to another!
I want to see the world! To have my Ph.D. in everything. Why on
earth should I waste my life in Alaska?
MAYOR: Very, very true, sir. What can be accomplished in the
wilds? Our town, for instance; you spend sleepless nights doing
your best for the nation, sacrificing everything, and as for
reward - complains and insults. This room seems a bit damp?
K: Absolutely! And the management has turned off the light. I
need to read, or to write my notes, and I cannot!
MAYOR: May I suggest, sir... Not being presumptuous, sir... I
have an excellent room at home, but no, I fear the honor is too
great. Don't' get angry, sir, believe me, in the simplicity of
my heart I offered it.
K: On the contrary, by all means. I would much rather be in a
Russian family than in this joint.
MAYOR: Oh how happy I am now! And my wife will be ecstatic! It
has always been my way from my earliest childhood to put the
Russian tradition of hospitality before everything, especially if
my guest is a man of American culture, a professor! I'm not
saying this to flatter you, no, I'm free from that vice, sir.
Perhaps, you would like to see how things are running in our
city... the management... (BOB pops his head in at the door)
Our hospital, for example. Or we might proceed to the school and
observe our methods of instruction in the sciences and foreign
languages. Then you might wish to visit the city prison and the
police station...
K: Police? The jail? I'd rather look at the hospital.
MAYOR: As you prefer, sir. (To DOB) We shall see how things will go after lunch and a couple bottles of vodka.
(DOB runs to the door and hits BOB, who has been listening
outside. All exclaim. BOB picks himself up)
It's really nothing, sir. After you, sir. (Shows K. out and follows him, scolds BOB) Just like you, constitutional anarchists! Couldn't you find
a proper place to flop?
(Goes out, BOB after him.)
SCENE/ MONOLOGUE WORK
1. The entire play that the assigned scene or monologue is from must be read and analyzed for character features.
2. A well written Character Biography must be completed based on the above.
3. The text of the actual scene or monologue must be dissected for beats and objectives.
4. The scene or monologue must be thoroughly memorized by the assigned date.
5. The scene or monologue must be rehearsed efficiently using time given as well as rehearsals outside of class time. Wasted rehearsal time will reflect negatively.
6. Beats and objectives should be demonstrated in the staging and performance of the scene or monologue.
7. Use a variety of tactics to achieve their objective. These tactics should be reflected in beat changes.
8. Character analysis and concentration should be demonstrated in the performance.
9. Students will record criticism from the instructor and the class and will demonstrate improvement based on that criticism in future showings.
[ each acting and directing website has "SS" -- scene study page! ]
