An actor is only merchandise. ~ Chow Yun-Fat
2008 acting 2 class
SummaryIf you read BM-class pages, you know that we start the semester with "Mono Studies" (one comedy, at least, you should have ready from Acting I). "Scenes Study" -- your midterm. The class project (one-act) is the final. Here, on the web, the organization is different...
One Act Fest
Enrolled at the Vieux Columbier in 1923, Etienne Decroux was taken with a vision of mime through some teaching there, and developed an original, personal style of movement. His early "statuary mime" recalls Rodin's figures; then came a more plastic form which he called "mime corporel." An intellectual and theoretician, his body training was based in part on what modern dancers call isolations, with body sections moving in prescribed sequence, and in part on physics, the compensation required to keep the body in balance when the center of gravity in shifted.
Decroux's primary contribution is that of a teacher. Perfomance as such was not important, and even those few performance occasions he would sometimes treat like a rehearsal. Many performances were given in studios for small invited audiences. He himself also worked as an actor, notably with Barrault in Les Enfants du Paradis, playing Deburau pere, and in other French films. Decroux opened his own school of mime in 1941, and developed theory in support of his system. Jacques Lecoq is primarily a teacher, sometimes a director, and has the broadest concept of mime among the four. He calls his Paris school the International School of Theatre and includes many different techniques of physical training, and has no wish to perpetuate mime in a defined, structured, conventionalized art form. He sees mime in two ways: as an ever-changing art form, and as a source of artistic thrusts toward diverse forms in drama, dance, music, architecture, literature, and more. Although members of those and other professions are attracted to his school, the majority of students are mimes, actors, and directors.
Lecoq is a stimulator. He directs attention to the process and where it can lead the student, rather than focusing on the result. He can wave away a concept that a student is newly mastering in favor of exploring something yet unknown. The teaching methods demand much discipline, curiosity, imagination, and ego-strength from a student.
NotesPhysical Theatre is the craft of building theatre through physical actions, characterization and stage composition. Physical Theatre uses as its primary means of expression movement, dynamic immobility, gesture and a variety of acting techniques. Text, music, costumes, and scenery are included in layers selectively. The context in which all of these elements are blended is determined by the message the performers wish to communicate.
2004 & After
2007 -- acting2
VOICE: Move upstage right, please. Thank you.
[ ET moves ]
VOICE: Move downstage right. Stay.
[ catastophe Beckett ]
Mask vs. Face ?[ compare with part 3 @ biomechanics.vtheatre.net ]All right, my friends, we are getting to the fun part!
1. Mikado[ Well, if I am about to link Biomechanics with Method, with I began in BioMethod, this part III is probably will be about the "missing link" -- Yoga. ]
2. The Importance of Being Earnet
3. 12th Night
4. The Inspector General
If you do not know how to do it, you are in trouble.
Do you have your Actor's Journal? Do you keep up with it?
Do you have your Actor's Portfolio (monologues)? Do you work on it periodically?
Do you read plays?
Do you read books on Theatre?
How much do you read?
When did you audition last time?
Did you study Acting?
Do you study Theatre?
O, ho! do you come near me now? no worse man than Sir Toby to look to me! This concurs directly with the letter: she sends him on purpose, that I may appear stubborn to him; for she incites me to that in the letter. 'Cast thy humble slough,' says she; 'be opposite with a kinsman, surly with servants; let thy tongue tang with arguments of state; put thyself into the trick of singularity;' and consequently sets down the manner how; as, a sad face, a reverend carriage, a slow tongue, in the habit of some sir of note, and so forth. I have limed her; but it is Jove's doing, and Jove make me thankful! And when she went away now, 'Let this fellow be looked to:' fellow! not Malvolio, nor after my degree, but fellow. Why, every thing adheres together, that no dram of a scruple, no scruple of a scruple, no obstacle, no incredulous or unsafe circumstance--What can be said? Nothing that can be can come between me and the full prospect of my hopes. Well, Jove, not I, is the doer of this, and he is to be thanked.
[ use Malvolio mono for analysis and movement design. ]
The biggest question is about act.vtheatre.net (new) directory, where I try to bridge BM and Method. Besides the obvious, where one stops and another starts. Also, it would be nice to have somewhere (preface) references to other systems (American Stanislavsky, Laban and so on)... even for the textbook? Do both ways have the same starting point (dramatic text) and we go separate ways on stage two: actor? Inner (Method) and Outer (BM) chronotopes?
Bookmark vTheatre! amazon.com *
An online course supplement *
2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
Film-North * Anatoly Antohin * eCitations *