2007 : |
2004: new pages to use in Acting II and Acting III classes *
Fundamentals : BioMethod
The most precious things in speech are pauses. Ralph RichardsonTHR221 Intermediate Acting
GeoAlaska: Theatre & Film
Spring 2003: Don Juan
ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
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SummaryBeat: The smallest division of action in a play. The length of time necessary for a character to play an "Objective" (also called "Intention") from beginning to end.
Method: Yoga & Freud
2004 & After
Киноартисту потребна еще большая интуитивная чуткость к стилю и ключу, в котором ведется построение в целом. Минимальное вторжение своего, стилистически противоречивого внутрь концепции, обнимающей единым ключом и стилем и композиционный график сквозь всю цепь пластической формы кадров (до точки съемки полей ржи или характера ночного освещения). Ведь иная нота интонации, иной ритм двигательного сочетания - часто вовсе не разница внутри общего плана роли, а элемент из "другой оперы" - элемент другого плана, причем плана, отвечающего плану... иной картины!
2006: Total Directing = stage + film
The secret is how to use both -- Method and Biomechanics -- for ACTING with CAMERA.Do you see how camera does the focusing on "Body Parts"? (read the page). Smart Camera has straight motivations, it's very mechanical. Like a magnet it goes where the center of action is at the moment. Do you want camera to love you? Love it back! Give it what camera is asking for -- small action, which it will make big on the screen. Camera like a dog, it will follow you, if you know how to lead. It's an illusion that you are "directed" -- no, you DIRECT camera! Well...
Semantics? Acting for the camera? Acting with the camera?
Important, camera is more than your PARTNER.
I spred the film acting pages in several directories: the tasks are different. In METHOD acting -- about the subtext, and -- how do you act without any text.
He, we have to see how the two main motions (primary -- actors, secondary -- camera) are used.
The actions of camera is on Film Directing pages (Eisenstein, photo left, is the main master-teacher in film classes); you have to understand the nature of your silent partner.
Again, two main motivations for camera motions: Camera acts as you actor-partner (POV issue) and as spectator. The second is most important; the reaction shot is still motivated by the interest of spectator. Camera follows the focal point of dramatic action. It could be on you or the sky, depending which image expressing better the specific dramatic moment.
Aha, this is what camera is searching for! Now more than ever actors realise that acting is reacting!
In Film Directing we talk that your "dance" with the camera consists of two motions (primary motion -- in front of the camera: you [and everything else "real"] + secondary motion: camera's movements). Yes, I said that camera in the last account is there to serve the drama -- and you are the main medium in expressing the conflict, but you must remember that we are talking about subjective time and space. Camera comes closer to you, when action asks for it. You have to know it -- and react (the way you react to your partner)!
[ the images are connected with different film directors in my film.vtheatre.net -- Film Analysis class; each filmmaker has his own style of organizing the narrative, this is why they prefer to work with "their" actors, the ones who feel/understand the "style" ]
The closeups are to see the hidden (subtext); XCU -- eyes only...
Director (camera) works around you, trying to find the most expressive action (it could be cutaways -- hands, subjects, which substitute the emotional state [symbols] and etc.) Mind your business (acting), let props, light, lenses, filters, cuts get the spectator ready for your act. Working with those elements of mise-en-scene means RE-ACTING to them.
Imagine: everything that goes on theatre stage at any given moment has to be squized into one closeup! Your CU!
Relax. This is not how the mind of film public works. It's always extremely contextual: whatever we see before is given to your CU as hidden expressions (your acting). Camera and me, the viewer, we do a lot of acting for you!
Do you see how drama becomes more condensed when we move to CU from MS (Al Pacino is the same)!
[ image ]
... 3.10.04. [ continued on video ]
[ To put clips from Acting II "Monologues for Camera" on the web? ]
* Look at this: "ACTORS' BASICS [Safety Tips] Find out how to spot a casting couch, photo mill, or SCAM! [Be Safe - Cautious]. Another collection of warnings about castings, etc, by Editor Ivan Saltz. [Getting Started]. Wonder what this is about? Duh. By Gena McCown. [Nurturing Talent] A guide for would-be stage moms from Ruth Resnikoff [How To Write A Cover Letter] - And you definitely should -- every time you send out a headshot to an agent or casting director. [How To Write A Resume] - The nitty gritty by Linda Zerne. [Take Your Best Headshot] - Tips on choosing a photographer and getting a good headshot. Written by photographer Christine Rose. [The Do's and Don'ts of Demo Reels] - The definitive guide by casting director Lori Wyman, who's seen some pretty awful reels. [Marketing] ..is not a dirty word. What to do now that you have your headshots and resumes... "
Nothing of this sort is on my film acting pages.
Sorry, this is about the business, not the craft of acting! What's the point to learn biz without learning the craft?
Do you understand the techniques of subtext? In film acting it's even more important than on stage -- words mean nothing on the screen! Cinema is the ultimate SPECTACTLE! We do not listen, we watch movies! Without subtext there is no conflict, without conflict -- there is no drama. What do you do when there is no text (words)? Nothing. Period. Remember, stage acting lessons -- we say one thing, think (feel) another, and do the third... Forget the first, the words. We still have the dichotomy: what we feel and what we do. Can I see it?
Yes, most likely you will get bad directors -- mind your business, I say -- do your stuff, act! So, you got yourself a lousy partner (if it never happened to you before)!
Work around! Even with the bad script, bad directions, bad cinematography, bad cast -- you still have a chance. How do you thing the big stars made it?
Well, the problem is that you don't trust ... yourself.
This is why you need METHOD acting; you need to meet yourself, to know yourself, before you ready for love with the camera.
[ image ]
4.7.04. The page will stay messy until the next redraft. Anatoly
Actors page in Film Directing is the summary. All Film Acting pages are in a menu (right table).
Oh, yes, another page in Acting One -- Shoot! To understand how the takes frame your beats of action (the action between "Action!" and "Cut!" calls).
projects: BM software
Danny: I was at this party. A guy named Skull. Everybody was getting fucked up. Somebody said there was some guys outside. I went out. There were these two guys from another neighborhood. I asked 'em what they were doing there. They knew somebody. One of 'em was a big guy. Real drunk. He said they wanted to go., but something about twenty dollars. I told him to give me the twenty dollars, but he didn't have it. I started hitting him. But when I hit him, it never seemed to be hard, ya know? I hit him a lot in the chest and face but it didn't seem to do nothing. I had him over a car hood. His friend wanted to take him away. I said okay. They started to go down the block. And they started to fight. So I ran after them. I hit on the little guy a minute, and then I started working on the big guy again. Everybody just watched. I hit him as hard as I could for about ten minutes. It never seemed like enough. Then I looked at his face... His teeth were all broken. He fell down. I stomped on his fuckin chest and I heard something break. I grabbed him under the arms and pushed him over a little fence. Into somebody's driveway. Somebody pointed to some guy and said he had the twenty dollars. I kicked him in the nuts. He went right off the ground. Then I left. [ drama 2 min ]Do the shot-breakdown.
EISEN: Anatoly, didn't you tell them who is more important? Camera or actor, I mean.
ANATOLY: What if they will take it wrong?
MEYER: It doesn't matter, if they will take it wrong, they do not belong here!
ANATOLY: All right, the camera is more important, kids.
MEYER: Even in CUs?
EISEN: Oh, the actors could riun your best shot, trust me!
ANATOLY: But the actor is good, he could make the best shot even better!
DISCLAIMER: If I am infringing any copyrights, please let me know and I will stop.
Acting in Film Analysis class *
Film Acting Pages: actors
2004: I do not know when I will have time to write about "acting in movies" -- here is a short list of actors I refer to in Film Analysis class.
Acting is a part of "mise-en-scene" in many textbooks (need explaination).
Maybe I will put my comments to the titles and actors later. Anatoly
PS. Watch the movies on your own, we don't do in class.
Dog Day Afternoon
An online course supplement *
2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
Film-North * Anatoly Antohin * eCitations *