2008 BM (Acting2) class
... Director(s) and Actor(s)
IT IS NOT THE SEEN, BUT THE UNSEEN THAT IS THE MOST INTERESTING. - KF -
This page is an extention of Notes (mostly for myself). How to organize and redistribute the material, topics, issues, etudes? -- and so on... I think that I am moving away from the textbook to the workbook format. Some subject perhaps must be moved into Stagematrix (directing), some -- into The Book of Spectator, some -- theory.
Organization of the webbook : SYNOPSIS
SummarySorry, folks, but I am far from getting the texts together. Five years ago, when I learnt than instead of my typewriter I can use the computer and the web, my aim was simple -- I have textbooks for classes, the students have my live classes -- I simply should write notes for myself, to help me to conduct my classes. So, I did. I still do. The notes before my classes, after my classes. And this is what I and you have -- the notes.
One Act Fest
NotesThis page (like Students Page) is the intro for "Instructor's Manual" to the "Biomechanics for Method Actors"... Sample Syllabi (must be updated). Parts and Chapters, Quizes and Exams. Exercises, list of scenes, monologues, games, warmups, improv. Recommended reading, index, bibliography...
2004 & After
There are several Chekhov's one-act comedies I use for class projects in my acting-directing projects (finals): Wedding, On the High Road, Proposal, Bear. [public domain] filmact.txt All "Film Acting" pages (chapters) are in different directories -- is there some way to bring them together without removing or rewriting?
* I have to leave the webpages unfinished...
This is another page "for myself" ("Notes Pages" are about the content), the page about "how" to teach BM...
I am teaching theatre for over two decades and for over twenty years I have problems with textbooks. They are not flexible.
OK, theatre is personal. It's "contact sport," but could acting textbooks get closer to math textbooks? I don't know.
Well, this is why I have my webpages.
...I do not know yet how to arrange the lessons in such a way that they will have an "open structure"; when you can tailor the content according to your needs. The same with the students, actors.
Sometimes, I think that the order should be reversed; starting from the showcases -- and only then -- theory. Or mixed.
Sometimes, I feel that the Method Acting basics are missing (in order to demonstrate the need for BM). Should I keep the refernces to Stanislavsky, to show when and where I myself go for BM? When not to bother with the method at all, for example. Or where BM won't work. (I use comedies only, but it could for the trgedies as well. Especially in (big) group scenes -- Oedipus, Chorus).
NB. I fear that this page will grow into many pages and a special "corner" on every page! "Notes"? Should I keep it separate?
Looks like the book is for advanced actors only!
The links with the showcase study 12th Night are not fully established?
I should have a short (week or so) BM classes in Fundamentals of Acting; just to introduce the technique (workshop, master-classes). And maybe it could be an intro in this book. What are the main topics?
Improv, Movement, Physical Theatre topics should be introduced through BM.
"Homework" in Method is known...
How to connect with the Students page?
I am not sure even about the layout of the pages!
The rest is on Notes page.
Part I. Task (Method)
Chapter 1. Stanislavsky
Chapter 2. Obstacles
Chapter 3. Stanislavsky's Legacy
Part II. Episodes
Chapter 4. Brecht
Chapter 5. Combining Episodes
Chapter 6. Meyerhold
Part III. Images
Chapter 7. Masks
Chapter 8. The Language of Mask
Part IV. The World of the Play
Chapter 9. Comparison
Chapter 10. Rules
Part V. Telling a Story
Chapter 11. Storytelling
Chapter 12. Dramatic Action
Chapter 13. Shakespeare
Part VI. Comparing Approaches
Chapter 14. Comparing
Chapter 15. Choosing an Approach
Chapter 16. Combining Approaches @2000-2004 index *
A basic part of my method of training involves actors stomping on the floor for a certain period of time to rhythmic music, or rather, walking around fiercely beating the floor with the feet in a semi-squatting posture. Then, the moment the music stops, the actors relax their bodies totally, falling on the floor. They lie completely still and quiet. After a while, music starts again, but this time it must be slow and smooth. In accordance with the change in the music, they slowly rise to their feet in any way they like, eventually standing upright, back in a natural posture. This training consists of a pair of contrasting movements, that is to say, the dynamic and static (motion and rest), in other words, emission and repression of physical power. The purpose of this training is to develop concentration on the body through controlling the reathing.
The essential point of the first half of this training is to keep stomping with a constant force, without swaying the upper half of the body. If the actor does not concentrate his consciousness on his feet, legs and hips which must be well-disciplined, it is impossible for him to continue to stomp consistently, however energetic he may be. Moreover, without the spiritual power and will to control his breathing, the upper half of his body gradually begins to sway and then the rhythm of the stomping becomes irregular. If you beat the floor with your feet, the force naturally influences the upper half of the body to make it sway. As I get actors to stomp as forcefully as possible, a reaction rises upwards so the more strongly they stomp the more the upper half of their body sways. If they try to minimize the sway, they have to repress the force with their hips. They have to stomp while always being aware of the relationship between upper and lower halves of the body which are pivoted together at the hips.
Of course, emphasizing the fact that the construction of the human body and the balance of the forces which support it are centered on the pelvic region is not thinking unique to my method; but almost all the performing arts invariably use such thinking. Only, I believe it is specific to my training that first of all the actors are made to feel conscious of this by stomping and beating the ground with their feet. This is derived from my belief that the basic physical sensibility of any stage actor depends on his feet. In our daily life, we tend to disregard the importance of the feet. It is necessary for us to be aware of the fact that the human body makes contact with the ground through the feet, that the ground and the human body are inseparable, as the latter is, in fact, part of the former, meaning that when we die we return to the earth—to make the body, which usually functions unconscious of its relationship, aware of this fact by creating a strong sense of impact through the beating of the ground with the feet.
This idea of mine has often been said to be quite Japanese, but it is not. Even in classical European ballet in which the dancers seem to aim at jumping from the ground to soar through the air, the basic physical sensibility consists of a feeling of affinity to the ground.
Again in traditional Japanese theatrical forms, such as Noh and Kabuki, the balance of the two vectors leading towards the sky and the earth, towards the heights and the depths, has been very important in physical expression. Only, in the traditional Japanese theatrical forms, these two forces with vectors contrary to each other meet at the pelvic region, and the energy derived from this tends to radiate horizontally. Therefore, the higher the upper half of the body tries to go, the lower the lower half of the body tries to sink to balance this movement. The feeling that the feet are planted firmly on the ground is, thus, increased. This is symbolized in such movements as sliding steps (Suri-ashi) or stomping (Ashi-byoshi) which express the affinity with the earth.
The late Shinobu Origuchi, a prominent Japanese anthropologist and man of letters, said that when examining Japanese performing arts, he found that the performers invariably stomp at some part of the performance and that the appearing on the stage in itself signifies the treading down of evil spirits under the ground; the stomping is called Hembai. Seen from this point of view, the sliding steps (Suri-ashi) in Noh plays can be considered as preparatory movement to set off the stomping. According to Origuchi, the essence of traditional Japanese dancing is wandering around the stage, which originally signified sanctifying the place by treading down the evil spirits. The series of movements in my training consists of two parts—first, straining the whole body, concentrating the forces at the hips, stomping to the same constant rhythm; and then, after collapsing on the floor to lie still, getting up again to music like a marionette, by extending a calm strength throughout the body. All is achieved by completely changing the quality of what we might call the raw, unconcentrated body of everyday life. That is why many beginners feel that they are just forced to move mechanically and that the delicate nuances of their own bodies disappear. According to my own experience in giving this training, actors in the United States, who are close to realistic acting, tend to feel like that. Even though they begin stomping forcefully and seriously, they soon lose their concentration and their bodies "loosen." There are some people who watch this and consider my training particularly Japanese; who say that the training is unsuitable for American actors because their legs are long compared with those of the Japanese actors. However, it has nothing to do with the length of the legs or the stamina, but with the discovery of an inner physical sensibility or with the recognition of an inner and profound memory innate to the human body. In other words, it is to do with the ability to uncover this profound physical sensibility and to give it full play. Therefore, it is not necessarily only Japanese actors who are likely to assimilate the aim of my training into their body. Whether in Europe or in Japan, stomping or beating the ground with the feet is a universal physical movement necessary for us to become highly conscious of our own body or to create a "fictional" space, which might also be called a ritualistic space, where we can achieve a personal metamorphosis.
The stomping or beating the floor with the feet originates in ancient Japanese rituals.
In his "Six Lectures on the History of Traditional Japanese Performing Arts" Origuchi mentions the Opening Ritual of the Heavenly Stone Wall in the Japanese Creation Myth as the origin of the Sacred Dance (Kagura), and talks about the rhythmical dancing to calm down the spirits, which a goddess named Ameno-Uzumeno-Mikoto danced, turning over a wooden tub and stomping on it and striking it with the end of a stick. He says:
Perhaps the tub symbolized the earth. The goddess stomped on it and struck it with a stick while making loud noises; actions supposed to wake up and bring out the soul or spirit that was believed to be under the tub, whether sleeping or hiding, in order to send it to the unseen sacred body of the god nearby.
What he means to say is that the purpose of the action of stomping and striking is not necessarily to tread down or suppress evil enemies but to arouse their energy in order to use it to activate human life. As a result, the same effect as of exorcism is brought about, for by acquiring the spirit of the evil it is possible to overcome it. The fact that Noh and Kabuki actors often stomp on the stage floor can be regarded as a practice related to this old tradition.
Thus the ancient Japanese stages were built on graves or mounds where the souls of the dead were considered to dwell. This has led to the custom that even now people hollow out the ground or bury a pot before building a Noh stage over it. That is not only for the sake of technical effectiveness—that the hollow ground makes the sound of stomping resound better—but it is a procedure to create an illusion that the actor can conjure up earth spirits or the spirits of ancestors who have returned to the earth, in order to acquire their energy. The resonance enforces the physical feeling of responding to the spirits. Even today such an illusion is necessary for actors on stage. For, the illusion that the energy of the spirits can be felt through the feet to activate our own bodies is a most natural and valuable illusion for human beings. Noh is well blessed because it has continued to cherish this idea right up to the present. Graves and mounds can be regarded as wombs from which we have been born. In that sense the earth is a "Mother" herself. Actors can undertake their roles on the premise that they are connected with all humanity integrating individuals.
Perhaps it is not the upper half but the lower half of our body through which the physical sensibility common to all races is most consciously expressed; to be more specific, the feet. The feet are the last remaining part of the human body which has kept, literally, in touch with the earth, the very supporting base of all human activities.
Compiled and translated by Kazuko Matsuoka
Venice Carnival 2002 -- Commedia Page(left)
Several "historical pages": Dada, Formalism (also 1920s), Kabuki, Shakespeare (comedy).
Missing: street theatre, circus, film -- and BM.
Pop-culture (TV): children and SNL. Thoughts on American Genres: horror movies, action, SF.
An online course supplement *
2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
Film-North * Anatoly Antohin * eCitations *