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|[ Mise-en-Scene page and other "mise" pages must be read before! ]
THR221 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
It will take time to sort out the old pages in Acting One Directory @ Theatre w/Anatoly and I plan to keep it for the Method Acting (both the Fundamentals and the Advanced). Maybe I will focus the Advanced Method at Act Directory @ Theatre Theory.
SummaryFolks, I don't know when I'll time to work on BM pages and especially, this one. See Biomechanics list of laws and principles to consider.
QuestionsВ сочинении Фомы Аквинского "Сумма теологии" есть примечательное описание того, как умершие души достигают своего "места". Фома говорит, что тела несут в себе как силу тяжести (gravitas), тaк и подъемную силу (levitas) и что тем самым определяется их место. Так же и в душе, лишившейся тела, сила притяжения вышнего мира проявляется как "1evitas", а сила притяжения нижнего мира - как "gravitas", смотря по тому, как прожита окончившаяся земная жизнь. Душа тогда следует как бы магнитной тяге той сверхчувственной области, с которой она чувствует родство. И в зависимости от этого она или "гравитирует", или "левитирует". (Summa theogiae. Приложение 69,2).
One Act Fest
2004 & After
The subject is new. In Method Acting we talk about "addresses" or "motivation" -- this is close to VECTORS (especially, if your know the concept of "inner gesture"). Nevertheless, often the aim of action is not expressed physically. Biomechanics come from the OUTSIDE, not inside of actor and demands physicalization.Directions, vectors and their origination:
Without vectors it's difficult to understand even the conflict. Take the famour "To be or not to be?" What is the conflict? Hamlet with himself? Okay, but how to show it? You know, the dagger. Now, what are other addresses? God? Cladius? The dagger is a good pointer. Sometimes you see turned into a cross (the opposite of the killing).
Can we extend this micro-action into space? That is where the axises are important; the main lines of the vectors. Read mise-en-scene to design the movement for this monologue. (Do you know what "acting areas" are?)
As usual, I ask for a triad (return to the established direction at least three times).
Think 3D: establish all three directions. Vertical: Hamlet on the floor, desparate, on his kneese, standing (three levels). Establish three levels toward the public (upstage, center, downstage). Establish three levels from left to right. Mark the points on your text and draw the floor plan.
Bring it in class. Do the monologue... How much of the design survived?
Not much? Think about your choices again.
Yes, those little vectors could help to choreograph your movement. Try different designs... and when it's the show time -- forget about it. If it's good, it comes by itself. If it doesn't, something is wrong with the idea of the monologue. Yes, your interpretaion of it.
X and Y dimensions: where is Z?
How do we see vertical and horizaontal in "Z"?
Analyse one dimension (line), two (surface) and their conflict.
[ dimension : measure in one direction; specifically : one of three coordinates determining a position in space or four coordinates determining a position in space and time ]
Axis of action: aix of motion and axis of interest.
Different vectors with the main one (draw them). How are they done? Light, for example. Or color.
[ draw the floor plan -- from 2D to 3D -- 4D (+time) ]
... How to express it in Actor's Movement?
* Crossover from "Film Directions":
I said "study film theory" -- because the camera does the acting! Watch how it moves ACTION from one shot to another! Imagine the flow of the action produced by your body...
Are "aim" and "vector" the same?
Must define the terms.
Reference: "Moving Points"
3D - x,y,z and the time one!
This is another point where BM is connected to the StageMatrix: directing. The problem (mine): in order for me to talk about theatre semiotics, I have to go through film semiotics first! Another step from "Semiotics of Performance" by Marco De Marinis, Idiana U. Press, 1993 (a must read for grad students).
From my notes in the book: "Semiotics? Everything is a message in paradise (our nature). Everything becomes theatrical in human universe (almost there). If pre-hictorical primitive tried to extract meaning out of everything, we actually put it IN. We learn to "read" because we write (speak) all the time. Do we turn "complex worldinto "complicated"?
* Module two: the anatomy of the muscular system
The muscular system types of muscle, muscle functions and movement
Disorders disorders of the muscular system
projects: BM software
Above is TOUCH.
Sorry, I don't have time to work on BM texts (May 2002), maybe, when I will get to Don Juan (Spring 2003), Moliere... Commedia + Neoclassism of the Court Theatre, not a period!
I didn't get the sensuality in Dangerous Liaisons, maybe the comedy and BM would let me get there. A comedy with the death at the end.
Where is this right mix for DJ? The style.
An online course supplement *
2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
Film-North * Anatoly Antohin * eCitations *