partI * II * III
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Summary1. Description -- video [new]2. An excerpt: "Camera Acts!" 3. Table of contents [ ... ] 4. Review Notes2007-2008An actor is under the obligation to live his part inwardly, and then to give this experience an external embodiment . . . in a beautiful, artistic form. . . . The dependence of the body on the soul is particularly important in our school of art. . . . In order to express a most delicate and largely subconscious life, it is necessary to have control of an unusually responsive, excellently prepared vocal and physical apparatus. . . . That is why an actor of our type is obliged to work so much more than others . . . on his outer physical apparatus.
When the body transmits neither the actor's feelings to me nor how he experiences them, I see an out-oftune, inferior instrument . . . on which a fine musician is obliged to perform. . . . The more complex the life of the human spirit in the part being portrayed, the more delicate, the more compelling and artistic should be the physical form which clothes it. . . . This makes an enormous call on our external technique, on the expressiveness of our bodily apparatus, our voice, diction, intonation, handling of words, phrases, speeches, our facial expression, plasticity of movement, way of walking. . . . You must still go on developing, correcting, tuning your bodies until every part of them will respond to the . . . complex task . . . of presenting in external form your invisible feelings. What classic part can you hope to play, if you do not possess an adequately trained physical apparatus? . . . You may have inside you a magnificent line [of feelings] but you will not be able to produce them on the stage. You cannot play Bach or Beethoven beautifully on an untuned instrument, . . . nor sing an opera with an untrained voice. -- An Actor Prepares
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2006-2007 Theatre UAF Season: Pinter & Mamet
Film-North * Anatoly Antohin.
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