Acting

Next week: Design: Scenic, Lighting,Sound,

and Costuming

In-Class Writing Response #2

Acting

Constantin Stanislavski

1863-1938

The Stanislavski System• Based on realism - naturalism

• Define realism

• Life of the character - dynamic + continuous

• goals and objectives (superobjective)

• connection to others on stage- the ensemble

Other elements of the system

• Relaxation

• Concentration + Observation

• Specifics - given circumstances

• Inner Truth - magic “if”

• What, Why, How

• Throughline of the role/character/portrayal- the spine

• Who am I?

• Where am I?

• What time is it?

• What do I want?

• Why do I want it?

• How will I get what I want?

• What must I overcome to get what I want?

https://www.youtube.com/watch?v=vpEGXrDSXo8

Other “systems”• Michael Chekhov-

psychological gesture- On The Technique of Acting (1942)

• Meyerhold- Biomechanics

• Lee Strasberg - emotional recall

• Stella Adler - Group Theatre

• Meisner

• Uta Hagen’s Respect for Acting - emotion is a springboard

Action- Training• Robert Cohen

• Robert Benedetti

• Outside- physical

• Inside- internal/psychological

• Combinations of techniques, training, methods, genres

• Movement, the voice, emotional recall/connection

Other forms of performance/training

• Tai Chi

• Alexander Technique

• Improvisation

• Commedia dell’arte

• Circus Arts

• Mime

Acting Teachers/Exercises

Michael Chekhov

acting techniques (psychological gesture, ensemble building) to access openness, truth in the moment

exercise- openness

group feeling- in order to create an improvisation

freeing oneself in order to improvise, co-create, and collaborate

1891-1955

On The Technique of Acting

The dramatic art is a collective art and therefore, however talented the actor may be, he will not be able to make full use of his ability to improvise if he isolates himself from the ensemble, his partners. (1952)

by Michael Chekhov

Ensemble Feeling

in groups of four or six - spread out

as a group- non-verbally- you will try to do one of the following things - in unison- at the same time….

1-change places

2-assume a position against the wall

3- come to the center

4- run in place

Joseph Chaikin

open

in the moment

authentic

internal territory

non-verbal improvisationhttps://www.youtube.com/watch?v=kZlKbp3KMHs

(1935-2003)

The Open TheatreThe Presence of the Actor

The Presence of the Actor

All prepared systems fail. They fail when they are applied, except as examples of a process which was significant, at some time, for someone of some group. Process is dynamic: it’s the evolution that takes place during work. Systems are recorded as ground plans, not to be followed any more than rules of courtship can be followed. We can get clues from others, but our own culture and sensibility and aesthetic will lead us into a totally new kind of expression, unless we simply imitate both the process and the findings of another. The aesthetic makes the system. (1972)

by Joseph Chaikin

The Presence of the Actor

the actor has to allow himself — has to be available to himself — has to be able to discover and call on himself — and he also has to direct himself and hide his own process. Tension directs him to particular choices, limiting possibilities and concealing alternatives. You can’t understand simply by trying — but nor can you not try to understand. In this sense “trying” is a form of tension. (1972)

by Joseph Chaikin

Condition work

outside- inside

improvisation

source: https://journals.ku.edu/index.php/jdtc/article/viewFile/1694/1658

The Serpent (The Open Theater)

https://youtu.be/JBmM31N2AJo?t=5m11s

https://www.youtube.com/watch?v=AJJucrf1h2Q

1968-1969

About The Open Theatre

During the sixties we were concerned with stripping away. Chaikin and the Open Theater actors worked to reveal the actor's imagination as projected by the actor's presence. We showed that full, exciting theatrical productions could be done with nothing but actors and two benches or four chairs or only a bare stage. It was not only a matter of economics, it was essential to demonstrate the profound power of the actor's imagination and the actor's ability to create place; i.e. scenery through the power of belief via total technique and through the use of transformation not only of character but of time and place.- Megan Terry

Stanislavski Documentary

available on Amazon Instant Video