"Scenes" and "Scene Study" in acting2 (biomechanics) + BM database : scenes
Method Acting : method.vtheatre.net/scenes
Directing : scenes
... act.vtheatre.net/scripts [comedy]
... also, see classes group/list/forums!
2007 scene study acting2 [SS]
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
"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 **
SummaryDo what we did during the monologue study: after cold reading, you homework (Actor's Text).
QuestionsNeed scenes? Go to Chekhov's one-act comedies!
NotesMoments, Beats, Scenes, Acts.
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!
"Beat Crisis" > "Scene Crisis" > "Main Crisis" > "Main Event"
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...
* In class -- Sample Scenes from appendix (Beneditti): Death of A Salesman [ two men ] & The Glass Menagerie [ 2 women ]
"La Ronde" by Arthur Schnitzler
The acting area is the area within the theater where the action takes place.
Read pages on Meyerhold in "Actors on Acting" (p. 501) [extra] (Spring 2003, a new textbook).Mikado, Act I:
"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" 
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.
Dual approach: BM + Method [ Genre : tragedy/drama and comedy ]
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."
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
Spectatorship Pages: Spectator
There is a page on dramatic structure @ Film-North: Analysis
3 Texts (theory) [extra]
Enter Pooh-Bah.[ two males, comedy ]
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!
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
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! ]
Oedipus Rex by Sophocles
The Second Shepherds' Play by Anonymous
Hamlet, Prince of Denmark by William Shakespeare
The Wild Duck by Henrik Ibsen (Doll's House)
"The Hairy Ape" by Eugene O'Neill
Death of a Salesman by Arthur Miller
Happy Days by Samuel Beckett
Bold Soprano, Ionesco
Fool For Love by Sam Shepard
The Government Inspector by Nikolai Gogol
The Three Sisters by Anton Chekhov
Miss Julie by Strindberg
White Biting Dog by Judith Thompson
Waiting for Godot by Samuel Beckett
Creeps by David Freeman
The Ecstasy of Rita Joe by George Ryga
The Importance of Being Earnest by Oscar Wilde
She Stoops to Conquer by Oliver Goldsmith
The Glass Menagerie by Tennassee Williams
[ Read plays online and about the playwrights in script.vtheatre.net ]
Books Recommended (Stanislavsky):
Building a Character,
An Actor Prepares,
Creating a Role
Dionysos: Start with comedies, please!Selections (online): The Importance of Being Earnest, Mikado, The Wedding (Chekhov), and -- 3 Sisters (drama), Hamlet. In what order?
Meyerhold: Big casts!
MAYOR: How do you do, mister American?
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.)
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.
Film-North * Anatoly Antohin * eCitations *
© 2005 by vtheatre.net. Permission to link to this site is granted. books.google.com + scholar.google.com