Typecasting, Acting One

pre-acting * * BioMethod * The subdirectories (1, 2, 3, 4, 5) are not developed yet! *

Acting:

topics: audience * text * pre-text * pre-acting * role * character * monologue * breakdown * scene study * style * biomechanics * typecast * students * last note *

"I'm typecast anyway - as me." - Roger Moore Broadway Tickets
Lion King Tickets
Spamalot Tickets
Wicked Tickets
Odd Couple Tickets [ advertising space : webmaster ]

Fall 2004:

* Total Actor content * 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!
"Method Acting for Directors" or/and Biomechanics ebooks.

Three Levels:
THR121 Fundamentals of Acting
THR221 Intermediate Acting: Biomechanics
THR321 Advanced: Method GeoAlaska: Acting, Directing, Theory, Shows, Books

GeoAlaska: Acting, Directing, Theory, Shows, Books

GeoAlaska: Theatre & Film Click-Bookmark Theatre w/Anatoly
Forums: Realism & Method, Comedy & Biomechnics

Spring 2002: Dangerous Liaisons, Spring 2003: Don Juan
KEY TERMS: Glossary *
DVD: Drama & Art House, Studio Specials & Classics, New & Future Releases, Cult Movies

Online Acting Test *
We do not offer Advanced Acting II and Advanced Directing (replaced with the senior thesis); contact your advisor.

theatre books

Biomechanics Glossary:

: days 'til the year 2007! Work!

Method for Directors? * Total Acting (new)

ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
prof. Anatoly Antohin Theatre UAF AK 99775 USA 2004: Sign * guestBook * View * Caligari 2009 - Lul 2010

Spring 2007 Acting 2 * PreAct: act.vtheatre.net

Dionysis -- Biomechanics

Method -- Apollo

2003 * Fall: FIVE APPROACHES TO ACTING (A TEXTBOOK) by David Kaplan, foreword by Stephen Holden, film critic, The New York Times -- recommended by Robert Brustein, American Repertory Theater; Judith Malina, The Living Theatre; Sir Nigel Hawthorne (published by West Broadway Press)

Summary

The Book of Spectator

Notes

new film acting pages *

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* one act fest * Acting I : BioMethod * Acting II : Biomechanics * Acting III : Method ** Stage Directions : Stagematrix ** Film Directing : Filmmaking for Actors ** Playscript Analysis : Grammar of Drama theatre ...

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 *

Typecast

Without knowing yourself, you have to future in acting. I have to come back to this page, because I am introducing film acting in all my classes. What possibly can you do without making use of your looks, physique, your features, which you must make work...
Limitations? Shortcomings? Make use of them!
Look, the text you rehearse is your "givens" -- costume, prop, directions... Your face, body, voice -- your "situation" as well. Accept it as a material and start working on it. Write in your journals -- what you have and what you don't. Left and right. Long list on the right? Good, there are many things you do not need, kid. Trust me, what you don't have, will let you focus on what you got. And this is what you have to do -- concentrate on "yours" and stay away from everything what is not "yours"!
You is your business. Literaly. Jack Nicholson is a billion dollar business (this is why he is paid over 20 mil. for a movie). You better start treating yourself as BUSINESS. What is "you as product"?

...

[ see direct.vtheatre.net for casting principles. ]
Also, Auditions in THR Theory directory.
Rework your resume (a new draft by the end of the semester). See samples in Students Directory
[ The original page is lost, see Theatre Theory pages. I recommend to read The Book of Spectator; I don't think that I wrote about our initial perception of anybody -- not an individual, but type, first. We build everything on commn, clishes, steriotypes! In movies this practice is even more brutal. ]
.... I will come back to this page later.
Sample (1st draft):
Joseph A. Alloway; Actors Resume
Male, 5'11'', 148 lbs, Tenor 2, Darkbrown Hair.
Nick Bottom in A Midsummer Night's Dream, Fairbanks Alaska, Director Greg Gustafson, April 2000, Lathrop Drama.
Jose Vegas in Fame, Fairbanks Alaska, Director Jackie Yates, March 2003, FLOT.
Bob Cratchet in A Christmas Carol, Fairbanks Alaska, Director Stephanie Spellman, December 2001, FDA.
Graduate of Lathrop High School in May of 2003.
Current Studies include Acting, Singing, Ballet, and Japanese language and culture.
My Specialty in making people smile.
[ first draft in THR121 class ]
[ in class: your favorite animal, color, fruit, whatever -- they do not know themselves, they need soem help in self-identification -- too young. ]
Online with Yahoo: Film Directing & 200X Aesthetics *
Simposia, Discussion, Feedback
...
Dionysos: Think of acrhetypes!
Apollo: Think of myth and heroes!
Meyerhold: Types only!
Stanislavsky: Each actor is unique!

PS
Actors must understand the mind of director, they should take directing classes; this is why all my webpages are for ACTORS! They are in the middle, they are the last before the spectacle becomes the exprience of the audience. They didn't have enough of attention from the theatre theory. They are the lost children of theatre.
See your showcase directory: wwwilde!
new: total acting
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Next: biomechanics & theatre theory

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System of the Method:
Meyerhold + Stanislavsky
for Directors & Actors
The Book of Spectator
acting2 -- 2008