* If you do not know Biomechanics, do radio. If you never heard of Biomechanics, don't do acting. * Title Page for BioMX Theory for Actors 2009 LUL

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ACTING

Russian Theatre: fest.theatre.ru + cultu.ru (webcast)

* March 2006: Go.dot -- 100 years since Sam Beckett's birth *

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    From lul
    Anatoly After Theatre UAF

    Oh, it's a long story!

    lul.sellassie.info

    lul.vtheatre.net

    teatr.vtheatre.net

    ... more?

    Phases:

    Producer [3-year plan]

    Director (Artistic)

    Director

    stagematrix.vtheatre.net [filmplus.org/thr continues]

    Acting-2 ?

    Here come in this directory, but new forms of instructions: apprenticeship.

    How?

    Masterclasses, workshop?

    ...


    PreActing: BioMechanics for Method Actors
    2008 : acting 2
    I do not know how I ended up teaching acting. I am not an actor and a few times I acted, I didn't like the experience. I like theatre; how couldn't I love actors?
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    Notes to BM pages: biomechanics.vtheatre.net

    SpectatorBook
    Theory of Spectatorship
    THR221 Intermediate Acting
    GeoAlaska: Acting, Directing, Theory, Shows, Books
    GeoAlaska: Theatre & Film
    Meyerhold, Directing Books
    Bio
    biomechanics.vtheatre.net

    Spring 2003: Don Juan

    See!
    film books
    See!
    virtual theatre
    THR121 Fundamentals of Acting Fall 2004
    Directing Showcases
    ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
    prof. Anatoly Antohin Theatre UAF AK 99775 USA
    Film-Classes
    2006 *
    * stageplays *
    BM Online

    Anatoly Antohin
    Theatre LUL

    Part I: Acting Cycles

    Part II: Actor's Chronotope

    Part III. Homework

    Preface
    Intro

    Your feedback is required! Corrections, suggestions, recommendations...

    The usual, I am behind -- no time to work on BM pages. Half into this semester we are still covering the basics. And some Method, of course. Now I am not sure that BM could be taught before Stanislavsky. So, I made a new directory on PREacting (Acting One), where I try to bring together Meyerhold and Stanislavsky... Spring 2002

    PreAct-Title
    Fundamentals : BioMethod
    Yes, the directories and webpages are not fully developed, but here is the general structure of acting classes I teach:

    Acting I : BioMethod

    Acting II : Biomechanics

    Acting III : Method

    Summary

    See biomechanics.vtheatre.net = BM banner can take you to the new directory, which is more connected to the THR221 Intermediate Acting.

    Questions

    More I work on BM pages, more questions I have. I had to break it in two: BM I and BM II -- in order to have "intro to biomechanics" level. I will keep the (class) "Questions" in the right table. Also, "Summary" and "Notes" (Spring 2003)

    Notes

    1. Description: biomechanics = the mechanics of biological and especially muscular activity.
    2. An excerpt: Meyerhold liked to call himself metteur en scene (one who transposes onto the stage), not just "director"...
    3. Table of contents: 1. Actor and Text * 2. Actor and Space * 3. Actor and Time * 4. Actor & Self * 5. Case-stidy: mini-Chekhov
    4. Review: study of the dynamics of movement on stage and the application of Theatrical Biomechanics in the creation of character. Scene study, incorporating a Biomechanical approach.
    filmplus
    2004 & After

    I have to act to live. ~ Laurence Olivier chekhov pages @ vtheatre


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    One Act Fest
    Meyerhold @ Work *

    2005 updates: Small Chekhov Fall * "Four Farces & One Funeral" -- Chekhov.05
    Chekhov's one-acts are updated -- The Bear, The Proposal (1st act -- Oh, Love!), Wedding, Tobacco (Act II -- Ah, Marriage!), but I'm still working on the "funeral" (Last Day of Anton Chekhov). mini-chekhov
    Spring 2006 -- Waiting for Godot, Beckett -- new pages ( see shows )

    ...


    INDEX * fundamentals of acting * Theatre w/Anatoly * Virtual Theatre * Theatre Theory * Virtual Theatre Forum * Classes * Method * StageMatrix: Directing * Script Analysis * Shows * Spectator * Plays * FilmMaking 101 * vTheatre * 200X Aesthetics * Mailing List & News -- subscribe yourself * BM+ * Anatoly Film Blog & thr blog

    FilmActing

    BioMechanics: Contents -- Intermediate Acting

    Physical Method

    Theatre BioMX Theory for Method Actors

    Anatoly Antohin
    Theatre w/Anatoly: Acting, Directing, Theory
    REVELATION & CONFESSION

    I am working on my webBooks for over a year, on my webpages -- three years, since I learned how to make them. I have thousands now -- yes, and only now I realized what I am doing!

    It was a shock for me.

    Look, I write the textbooks about acting (I teach theatre for many years!) -- and I had many good explainations, why do I do it (teaching for years and writing the textbooks for over a year), you will find my silly reasons on the pages I wrote before the grand revelation.

    The truth was simple and merciless. I teach, because I do not believe in talent! Did you notice the titles? "System of the Method"? "Biomechanics Theory for Actors"? What? System? Method? Theory? Mechanics? Do you follow me? I say that it could be learned as accounting, plumming, driving!

    Sorry, this is what I say...

    Oh! I better say it all! I myself learned it all because I had no talent!

    I didn't need methods and systems, when I was young! And I did it, the theatre! Badly, perhaps, but now I, the loser, claim that anybody could learn the art MECHANICALLY! What is that? Acting and direceting for the dummies? Madness? Arrogance?

    Forgive me....

    But honestly, in America we all do not believe in talent, blessing and the stuff. We believe that we can do it without grace and gift. "How to Be Happy" or "How to Make Any Woman Satisfied" -- it is from the US Constitution! If I can learn how to be happy, I am for sure can learn how to act!

    In fact, the talent would be an obsticle! No, no talent, please, none for soever! Nothing! That is what you really need to learn theatre! If you do have any talent, or even believe that you might have a talent -- do not read my books!

    Yes, I know, it's painful, I uderstand it, I suffer myself from the realization that I am a pig. More so, the reason why I understand more than you in Method or Biomechanics techniques -- is because I am LESS talented than you! Understand?

    The confession. Do you think it's pleasant? Oh, how nice it would be to have a talent or something like this! But I know so much about the craft of theatre that there is no hope for me whatsoever! It's late for me, but I warn you, the young, -- give it up while it's not late! Think about it over, because when you start learning the systems and techniques, there is no way back -- you will acting and directing better and better! You will live under an illusion that you have talent! I beg you to remember my miserable life and aviod the suffering in the old age!

    I see, you insist. Go ahead, read the Intro, read the Preface, read and forget about the talent forever! I hope, you will not understand a thing in this book!

    ...

    Fragments

    Poetics of Theatre: theatricality. What is theatrical (performance) language? First, theatre lost its dependence on dramatic literature (Mayakovsky), good literature (stage compositions), and any text all together (street manifestation, political happening). Free of the tyranny of the Word, theatre concentrated on stage-forms of expression. Theatre discovered a new author -- director. Designers entered this new theatre as theatre artists. Even light moved from being functional to expressive language of theatre communication. Even in cases of producing the classic ("The Inspector General" by Gogol, "Forest" by Ostrovsky) the new theatre has to fulfill its new interpretive obligations -- new production has a right to exist only on condition of a new "reading" of the classical text. "Text" became a material for another "text" (performance).

    This revolution was against the overwhelming success of representational theatre (Moscow Art Theatre School). There was a secret side of the naturalist theatre -- dramatic narrative from the birth of theatre belong to many characters, theatre messages were expressed in hidden (not openly articulated) forms -- we always were "guessing" the message, comparing statements and actions of many. As in life. Verisimilitude was pregnant with this twentieth century cultural explosion. In the times of revolt of the masses and success of the industrial (manufacturing) revolution, an individual claimed his right to see the world "his" way. Spectator revolted against the public. Mimesis, which ruled arts (drama to the extreme), contradicted not only the interpretive nature of the dramatic (author voice is never direct, only through many voices), it contradicted the sensitivity. We, Americans, didn't see the past in control of the present: the future rules the present. We are not inhabitants of the existing reality, but the builders of our "own" designed -- and "artificial" (man-made) reality. Instead of being a great teacher, History acted as a burden, that was the begging of the American Age.

    The theatre of direct conformity to life attempts to confront the audience with all the unpredictable complexity of reality and the unexpected development of events, attempting to conceal both the ending and the emotional coloration of the action from the public. Stage action is to catch the audience unprepared, so that its impact is increased. This is why the genre `play' or `drama' exists; the theatre of direct conformity to life warns the audience of nothing in advance, and the same time is the bearer of detailed and accurate minutiae, both of everyday life and psychology, which make the artistic whole believable. (Meyerhold 139)

    ....text became something of an obstacle. Decoration was replaced by a construction. the construction of drama = attraction assembly (episodic structure). There is no stage and auditorium anymore; to organize the stage space most conveniently for the actors, to create "working space for the players. A machine. Non-individual approach to reality.

    Biomechanics establishes the principles of precise analytical execution of each motion, establishes the differentiation of each motion for purposes of maximum precision, demonstrativeness -- visual Taylorism of motion (Sign of refusal -- the establishing of the start and end points of motion, a pause after each accomplished motion, the geometrization of movement in planes.) We must be able to show the modern actor on stage as a complete automation. (Meyerhold 294)

    The actor's art is the creation of plastic forms in space. Therefore, the actor's art is the ability to utilize the expressive potential of his body correctly. This means that the route to image and feeling must begin not with experience, not with seeking to plumb the meaning of the role, not with an attempt to assimilate the psychological essence of the phenomenon, in sum, not "from within" but from without; it must begin with motion. This means the motion of an actor excellently trained, possessing musical rhythm and easy, reflectory excitability; an actor whose natural abilities have been developed by systematic training. (Meyerhold 294-295) ...

    4steps

    2005 * As you noticed, I gave up on "How To Use" Anatoly's webpages. Use the search "filmplus.org" (Google) at the bottom!
    @2000-2002 contents * PS. I'll keep the separate BM and Method directories, but in the future I want to bring Meyerhold and Stanislavsky together in act.vtheatre.net and direct.vtheatre.net (vtheatre = virtual theatre).

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    biomechanics home: 0 * 1 * 2 * 3 * 4 * appendix * links * references * notes * faq * archives * biblio * popup * list * 2007 google.com/group/acting2 * notebook * amazon.com/kindle * my shared page * lul teatr

    An online course supplement * 2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
    Film-North * Anatoly Antohin * eCitations *

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