2009 -- Addis Ababa?
[ 0 ] [ 1 ] [ 2 ]


Summer 2010 abroad

vid.txt : acting youtube.com/anatolant collection

pre-acting * ACTING ONE *

topics: audience * text * pre-text * pre-acting * role * character * monologue * breakdown * scene study * style * biomechanics * typecast * students * last note *
BioMethod is an approach to acting through exploration of internal and external methods, creating the foundation for monologue and scene study.
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Fall 2004:

They are not actors yet -- but after this class I want them to know, if acting is for them.

This intro to acting should give you some working knowledge of Method and Biomechanics -- and even if you never acted before. How basic is basic? You have the textbook; the pages are in addition to it. What textbook? Any, for the basic information you need. Yes, pick up any textbook on acting or go through my webpages, following Acting One class -- THR121.

Recommended: Actors on Acting (AoA), Toby Cole Crown Trade Paperbacks $17 051788478x, see biblio reading assignments (Spring 2002)


Acting One class is an intro to acting; after this course you should know, if acting is for you or not. Acting is very personal and if you do not feel comfortable, forget it. Nevertheless, i recommend Fundamentals of Acting for everybody, you should check yourself out, should become easy with self-expression in front of the others. This directory is for all of you, majors and non-majors.


If you are lost, use the popup mini-windows, FAQ and other service pages.


You, Americans, funs of SF, let me introduce a student in my Acting One class -- ET. I do not know where he came from, another galaxy or a local school. Why in my class? To study acting? To learn how to be a human being!

* Acting I : BioMethod

* Acting II : Biomechanics

* Acting III : Method

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* one act fest

2005 updates: Small Chekhov Fall * "Four Farces & One Funeral" -- Chekhov.05
Chekhov's one-acts are updated -- The Bear, The Proposal (1st act -- Oh, Love), Wedding, Tobacco (Act II -- Ah, Marriage!), but I'm still working on the "funeral" (Last Day of Anton Chekhov). mini-chekhov
I am teaching DramLit -- http://groups.yahoo.com/group/dramlit (subscribe) and see THR215 for subjects, topics, titles.
Spring 2006 -- Waiting for Godot, Beckett -- new pages ( see shows )
Your feedback as always welcome!


2007 -- a lot of web2.0 things in other directories; video - everywhere!

Not here.

Who would read BioMethod pages, if I do not read them?


Read my Theatre Blog (new)!


The METHOD directory will be updated, when I am to teach THR331 again. For now you may subscribe to 3sis: Method & Realism eGroup.

& my mailimg list!


index * Parts: I * II * III * IV * V * Books * BioMechanics I * Biomechanics II * Directing * Script Analysis * Method Acting for Directors * SHOWS * Theatre Theory * Film * SPECTATOR * Virtual Theatre * amazon.com *


The two happiest days in a theatre person's life: The day you start on a new show and the day the thing closes. Unknown
According to one of the main principles of Aristotle (Poetics), acting is very natural for us. Mimesis, the gift of immitation, let us learn everything -- all what we need to do is to follow that build-in ability. Simple.
* Acting: 1. The occupation of an actor or actress. 2. Performance as an actor or actress. 3. False behavior; pretense.


Stanislavsky: «What exercises resembling solfeggi are needed by him? What scales, what arpeggi for development of creative feeling and experience are required by the actor? They must be given numbers... for systematic exercises in the school and at home. All books and works of the theatre are silent on this score. There is no practical textbook». ( My Life in Art, 166-67)

Fundamentals of Action: Method Acting & Biomechanics

ACTING = to perform; to execute; to do
I come home late after myself rehearsals. "What did I do for hours?" I ask myself driving from campus. Directing actors? Well, actors direct the public -- feelings and thoughts of spectators, their minds and hearts. This is what I do, when I rehearse -- I am a spectator. This is what I do when I teach actors and directors -- to be professional spectators.

What does public want?

The audience is a simple creature. They want a story to live in, they want it to be "their" story, for them and about them. They are children, grown up children.

So, I write it down, my notes.

I want to keep those notes for actors and directors simple. I keep it for myself, writing it down before and after my classes. Almost as a diary of a theatre teacher -- and I wish I could have this tone without forcing the traditional textbook style on them.

Everything was measured against the idea of public. I took from Stanislavsky whatever was usefull for inner world and Meyerhold what was needed to make this process visibe.

If you believe that a spectator is a drama machine, you can find in him the best advisor, best trainer, best teacher. To create subjective time and space, the only chronotope of dramatic narrative every spectator exists in, actor must "direct" himself to experience what he wants his public to experience. This is the premice of Method Acting. "To direct himself" -- biomechanics techniques. And this is the origin of the title "BioMethod"...

Yes, teach yourself.

Teach yourself to learn.

This class is required for all theatre major - designers, techies, directors... It's required for theatre minors! What does it mean?
You should at least understand actors and acting. Even if you are an actor!
This is why I use the term "PreActing" (Meyerhold).
This is why I call it "BioMethod"!
Acting is simply my way of investigating human nature and having fun at the same time. Meryl Streep
Dionysus -- Biomechanics

Method -- Apollo

Before I introduce two master-teachers -- Stanislavsky and Meyerhold (on your right), I need to say a few words about the gods (above). Apollo is everyoung, but not Dionysus. You see? Yes, there is price to pay for being sensuous, frenzied and orgiastic character. We need both: analitical Apollo with his balance and harmony and his opisite, Attica's father of drama....
Did you see "Method Acting for Directors"? (Consider it Advanced Acting). I am using those pages for acting classes, too. Beside, there are pages about Biomechanics (BM) -- Intermediate Acting. This directory -- Acting One.

A few words about Acting III and how this directory should get us there. Mostly about the approach: how directors should work with their actors using Method... remember, the formula: ACTOR = CREATOR + MEDIUM? Well, actor also can look at himself as this "inner director" (creator). Stanislavsky talked about this split personality and actors must develop this ability to see themselves, they must train the director inside, which will be helping the "medium" (craftman) actor to apply the ideas (actor's choices), transforming a character (dramatic text) into a role (performance). [Directors must develop the inner actor in themselves in order to understand and feel actors; this is why we require Fundamentals of Acting for directors.]

Now, in Biomechanics we talk about physical theatre... Therefore in ACTING ONE we have to introduce some basics of the both techniques -- Biomechanics and Method. If you know enough about Stanislavsky and Meyerhold -- go to the next level. Or go through the pages of ACTING and review what you should know.

[I keep the same structure for all directories, hoping that it will help me to stress the difference between different approaches to the same subjects and topics.]
Part One: Character (Playscript analysis for Actor)

Part Two: Role (Actor's Text = Performance)

Part Three: Actor & Stage (Chronotope)

Part Four: Theory & Showcases (Directing Public)

WWWilde, the showcase: "The Importance of Being Earnest"


Blanche: "I don't want realism. I want magic. I don't tell the truth. I tell what out to be truth. And if that is sinful, then let me be damned for it!" [ T. Williams ]

Yes, dear, yes, theatre must be more than life. In order to tell stories, we have to edit life, we have to take the best, we have to give our hearts to it. "What is truth?" said one cynic, because he wasn't a poet. Truth is a secrect to be discovered. Did you say "Magic If"? Who said it? The magic of discovery! What if I married my mother... Me? Yes, you. No way! "What if"? Imagine. Not possible? Not me! No!

Go home and watch the news...

"This wonderful idea (requires the actor) to reflect all that is best and most profound in his creative spirit... to store up within himself this great inner content and identify it with the spiritual life of the part he is playing." Stanislavsky (1863-1938)
A little bit in THR121 Fundamentals of Acting, but mostly in THR321 Advanced Acting.

Spring 2002 THR221 Intermediate Acting: focused on Biomechanics (physical theatre, Meyerhold) and THR331 Fundamentals of Directions: Meyerhold for Directors (StageMatrix).

System of the Method:
Meyerhold + Stanislavsky
for Directors & Actors
The Book of Spectator
If you are not familiar with the basics of Method, read American version in AoA: Stella Adler (The Actor in the Group Theatre, p.602) and Lee Strasberg (The Actor and Himself). You need to understand not only how, but when to apply BM... and why (see your textbook for more).

Fall 2003: 5 Approaches to Acting (textbook), David Kaplan [ acting2 ]

Part I. Task (Method)
Chapter 1. Stanislavsky
Chapter 2. Obstacles
Chapter 3. Stanislavsky's Legacy

Part II. Episodes

Chapter 4. Brecht
Chapter 5. Combining Episodes
Chapter 6. Meyerhold

Part III. Images

Chapter 7. Masks
Chapter 8. The Language of Mask

Part IV. The World of the Play

Chapter 9. Comparison
Chapter 10. Rules

Part V. Telling a Story

Chapter 11. Storytelling
Chapter 12. Dramatic Action
Chapter 13. Shakespeare

Part VI. Comparing Approaches
Chapter 14. Comparing
Chapter 15. Choosing an Approach
Chapter 16. Combining Approaches

Act I, Scene I

[ I am thinking about making four parts in this directory into Five-Act-Play. First, there is a new part #5, when you have to write your own monologue. Second, why not use the natural theatrical structure for a book on acting? So, you have to live through another mess of the pages under reconstruction.

Please, use the text of "The Important of Being Earnest" for class: monologues and scenes; I place the links to the site with the online play -- click on the pix from UAF production.

The sillabus of THR121 Fundamentals of Acting will be updated throughout the Fall 2003.

Live students (in class) must see our Fall shows: The Possessed and The Winter Shorts (and write about acting in your journals).

Bookmark the BioMethod directory! ]

Algernon and Lane (read online "The Importance of Being Earnest)


I had to move TEXT ONLY Method files to a different server; the book and ebook do have different nature. I have to work on them separately. Some of the pages that are missing in web-textbook version are over there.

I still do not know, when I can get to the first draft of any of those textbooks, hoping that this could happend "naturally"....

Actor's Script: Script Analysis for Performers, Charles Waxberg Heinemann 0435070312 $16.95 -- Read Script Analysis before signing for Advanced Acting!

Check THR215 Dramatic Literature and THR413 Playscript Analysis class pages for more titles.


Now I try to end each class with the homework assignments. Textbook reading and Actor's Journals.

Next: Intro

[ Spring 2004 ]

Artist is the essense of being alive. Artist is the best of being human. Actor is this ARTIST. You are not ready? Too bad. You are not ready to live. You were born too early. If you are not actor, you are not alive. If you are alive, you are actor. You act. Please, do.

rate Film-North * Anatoly Antohin * eCitations *
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