THE-2000 Lecture Notes - Lecture 5: Little Theatre Movement, Federal Theatre Project, Edwin Forrest

54 views14 pages
25 Aug 2016
School
Department
Course
Module 5- Lectures
#1. Theatre in Practice: Acting
Questions
oWhat is acting?
oWhat training and skills are required for an actor?
oHow does an actor approach a role?
#1. What is acting?
oMimesis
Imitation
Fundamentally that’s what acting is
Performing in every day life- dates and work
oActing skills
Thespians- thespis (Greek)
Build a character
Interpret and analyze a text
Physical and emotional/psychological
#2. What training and skills do actors need?
oThe actor’s body
Instrument
Voice
Physical body
Movement
Pivotal to their career
Must train and home their instrument
oActor training
Dance: jazz, tap, modern, ballet
Singing
Dialects
Diction: clearly and loudly
Movement lessons
Reflect different characters on stage
Mask work
Important to be good in movement
Stage combat
Relaxation
Yoga
Pilates
Specialty training
Juggling, acrobatics, sports, fencing,
oMost actors are training in a lot of different skills
oGenerally, makes lucky break if they have all their necessary training and skills
oActing requires
Discipline
Concentration
Imagination
Playfulness
Thick skin
Self-confidence
find more resources at oneclass.com
find more resources at oneclass.com
Unlock document

This preview shows pages 1-3 of the document.
Unlock all 14 pages and 3 million more documents.

Already have an account? Log in
Drive & passion
Trained instrument
Skill
oWhy training matters
Endurance
Ex: film vs theatre
Film: capture moment once, if the camera gets it you’re golden
Theatre: actor has to repeat the moment almost every single day and for a
bunch of days of the year
oMoment cant be redone
oChallenge
Willingness to take chances
Willing to put your work out there
People will reject but you have to be willing to do that
Ex: Johnny Depp
oRange of actor seen in his willingness to take chances
#3. How does an actor approach a role?
oActing vocabulary
Use across country and sometimes world
Given circumstances
Information explicitly given to you by the playwright
Written into the text about a character
Imagined circumstances
Information that is implied or the backstory to the text
Actors generally will figure out the answers to many of these questions
Based on given circumstances
Objectives
Key to making sure actors are fighting for something on stage
What the actor is fighting for at any give moment
Obstacles
What stands in the way of the actor getting his or her objective
Tactics
Strategies that an actor employs to overcome obstacles
Text
Words on the page
Subtext
Meaning layered underneath the words
oApproaches to acting
Outside-in
Presentational acting
Physical first: walk, move
Inside-out
Representational acting
Begins with psychological and emotional
oOutside-in
Physical first
Exterior appearance of a character
Harrison ford
find more resources at oneclass.com
find more resources at oneclass.com
Unlock document

This preview shows pages 1-3 of the document.
Unlock all 14 pages and 3 million more documents.

Already have an account? Log in
Begins with what hairstyle/haircut would have
Richard III
Character with spinal deformity
Dialect- accents
Doesn’t matter if actor is feeling the emotions because key is to show audience what
the emotions look like
Emotions APPEAR to emerge from physicality
Problem: can appear too mechanical
Can be replicated with skill
Trained skill actor can handle things on a physical level, he becomes that
character
Ex: when harry met sally orgasm scene
Ex: stomp, clowning/mime
Ex: bill Irwin
Ex: Cirque du soleil
Debate if circus is theatre but with cirque it is proof that it is
Show: Ka Extreme
oInside-out
Representational
Emotion first
If the actor is actually feeling it, then whatever is supposed to happen physically will
just happen
Physicalizations emerge naturally from emotions
Problem: can be inconsistent
Actors have to do it hundreds of times a year to stay fresh
Konstantin Stanislavski
Redefined acting
Scientific system for actors to act representational but reproduce it reliably
Acting “system”
Emotional memory or “magic if”
Relaxation – key, if not relaxed not focused
oYoga
oFocus energy or reproducing role
Think back to own life experiences and recreate emotional memories
Method acting
Extreme version of inside-out approach
Pioneered in US
Ex: Marilyn Monroe, dustin Hoffman (marathon man) “why don’t you try
acting”
“Magic if”
Cornerstone of stanislavski’s system
Actors imagine situations
What would I do if….
oWhatever the situation is
Allow actor to engage with that sense of play
Start to imagine what might happen
oActors usually do both
find more resources at oneclass.com
find more resources at oneclass.com
Unlock document

This preview shows pages 1-3 of the document.
Unlock all 14 pages and 3 million more documents.

Already have an account? Log in

Get OneClass Notes+

Unlimited access to class notes and textbook notes.

YearlyBest Value
75% OFF
$8 USD/m
Monthly
$30 USD/m
You will be charged $96 USD upfront and auto renewed at the end of each cycle. You may cancel anytime under Payment Settings. For more information, see our Terms and Privacy.
Payments are encrypted using 256-bit SSL. Powered by Stripe.