There is no "Empty Space" -- the space without time doesn't exist! Space with Time is DRAMATIC!

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... chronotope & "montage principle" in theatre.

"Book of Spectator" topics : TIME + SPADE in Theatre Theory [ time as space and space as time ] "Subjective Time" & "Dramatic Space"

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    Chronotope -- Actor's Space & Time *
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    Chronotope [time + space]: I can't talk in detials about this category, you should go to the Time in Script Analysis. Here we only use time and space to understand how actor actor controls and operates the spectator's choronotope (also, see The Book of Spectator on theory of subjective and objective time-space).

    In our case we treat time and space not as themes, but actor's and spectator's unified fields and apparatus of emotional communications.

    2007 class -- acting2

    Theory of Spectatorship
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    2006 *
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    "The rest is silence." (Hamlet) -- Now you can act!

    New Terms:

    * Center of Gravity Concept

    * Subjective & Objective Time & Space

    * Moving Points

    * Actor's Chronotope

    * Mise-en-scene

    * Actor's Text

    This chapter is very important and very theoretical. As I said, I use the term chronotope introduced into literary theory by Mikail Bakhtin, developed around the same time, when the theory of biomechanics was formed.

    Meyerhold believed that Actor is Artist and everything that applies to a composer or a writer, does work for actors. If we to accept the notion that any performance is a "composition" -- we can see how useful the Concept of Chronotope is.


    I have to move the theory issues to different places: The Book of Spectator and Theatre Theory (Chronotope). Also, this topic must be studying together with Time and Space pages/chapters. There are several subjects (vectors, axis of action and so on), I can't touch without dealing with the general ideas of "physics" of stage.


    Silence is the element in which great things fashion themselves. --Carlyle, Sartor Resartus
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    Semiotics in Russian

    2007 -- pages


    Read Film Directing 101 (POV) pages
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    [ This page is better developed in StageMatrix: Directing. In fact it has a subdirectory.

    ...and Method Acting for Directors ]

    Bakhtin [Holquist and Caryl Emerson] define chronotope as
    a unit of analysis for studying texts according to the ratio and nature of temporal and spatial categories ... An optic for reading texts as x-rays of the forces at work in the culture system from which they spring. [Dialogic Imagination 425-426]
    chronotope: the meeting place of these voices - "the place where the knots of narrative are tied and untied." [Mikhail Bakhtin, The Dialogic Imagination: Four Essays, ed. Michael Holquist, trans. Caryl Emerson & Michael Holquist (Austin: University of Texas Press, 1981)]

    Actor's Chronotope

    Mikhail Bakhtin uses it (as well as Eistein); the term means that time and space are not separatable. I use it to introduce the creation of the SUBJECTIVE time (more in Spectator Directory and in Film Directing). Drama doesn't exist outside of the show's chronotope, which is a subjective time of a spectator. Of course, director creates it within the spectacle, but actors do have the last word. How does actor establish this "channel"?

    First, we have to aknowledge the objective (real) dimensions (3 D and the chronological time). This is our material. The time could be conctrol only by the changes in space. This is why Mise-en-Scene is so important. Movement is the answer.

    "... we respond to gestures with an extreme alertness and, one might almost say, in accordance with an elaborate and secret code that is written nowhere, known by none, and understood by all." --Edward Sapir, Anthropologist (1927)

    What is movement? Physical changes in space and time. If you put together 3D space and time, and yourself in the middle of it, you as a generator of this 4D field of action -- you got it, the chronotope of physical drama. Within this 4D field Actor composes his "texts"!

    This is SUBJECTIVE time and space formed out of the objective time and space, yours and the public. "Subjective" means transformed by the action. In the BM case, by the movement (motivated = dramatic).

    The semiotics theory insists that everything is a sign and therefore every move on stage is a statement we "read" (including the absence of motion). Movement is one of many stage languages and should be composed as a sentence. Actor "writes" one sentence after another and we have Actor's Text (for example, in ballet it's poetry genre). The 4D Chronotope is the "paper" where actor "writes" his movement texts. This is why it has to staged (mise-en-scene) or choreographed. Do we have to do it with every step like in dance (one-two-three)? Not at all, but we have to have the design, the pattern to follow.

    The costume helps. In acting classes (or rehearsals) sometimes I have to force it o