2009 LUL
2009 :
stagematrix + cine101

anatolant Web-Theatre : director2007

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ACTING

... Character into Role : characterization, physicalization, visualization, vocalization [ 3+ levels, icluding film as "+" ] : dictionary { "4 Zs" -- masterclass? } where?

Sophocles

Shakespeare

Chekhov

Beckett

AA, ET ?


BioMX for Method Actors : Stanislavsky: Click to View or Add Text.

"The art of the actor consists in his material; that is, in his capacity to utilize correctly his body's means of expression."- (Braun, 198)
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2007 -- the page was made when I wasn't old...
BioMX
BioMX Forum

Workshop + lecture

Acting: Click to View or Add Text.

ACT: Cycles

One, Two, Group etudes.

ActJokes: Click to View or Add Text.

Dionysis-Biomechanics
Dionysus -- Biomechanics

Apollo-Method
Method -- Apollo

Two guests from Fundamentals of Acting

Acting One
PreAct-Title
Fundamentals : BioMethod
[ see LA notes -- not posted ]
Dostoevsky
Meyerhold @ Work *

Summary

Bogdanov *

Questions

A play has two authors, the playwright and the actor. Eric Bentley

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One Act Fest
Commedia-Shake
^ The Shrew Film Directing "showcase" ^

Notes

The only way to see the value of a play is to see it acted. Voltaire
filmplus
2004 & After

"The coordinated manifestations of excitability together constitute the actor’s performance. Each separate manifestation comprises an acting cycle. Each acting cycle comprises three invariable stages:
1. Intention 2. Realization 3. Reaction.
The intention is the intellectual assimilation of a task prescribed externally by the dramatist, the director, or the initiative of the performer. The realization is the cycle of volitional, mimetic and vocal reflexes.
The reaction is the attenuation of the volitional reflex as it is realized mimetically and vocally in preparation for the reception of a new intention (the transition to a new acting cycle)" (Braun 201). filmact.txt Meyerhold's actors - Garin

[ in class ] scenes

Method Acting * Stanislavsky on Stanislavsky Terminology *


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ACTING BioMX Masterclass

One hour summary about Meyerhold and Biomechanics... Chekhov05
Lecture + Demonstration (some) 2h (workshop page -- another hour after the intermission).

Principles and History: Meyerhold bio

Articulated Movement: Dance and Semiotics

E-MOTION: What are the parts of the motion sentence?

Good and Bad Grammar in Physical Acting

Prose and Poetry of Motion: BM and Film-Mind

Right and Wrong Moves

Ten Stage Commandaments for Actors

[Cycles]

PS

Why Biomechanics?

"The second leg" (Method is the first?)

Exercises

(Entrance, exit, walk, greeting, identification of the cycles)

[ handouts: doc files ]

There is another page Workshop, which is supposed to be a mini-class in BM, but I am still not sure what is the most important to focus on!

"To acquire knowledge, one must study; but to acquire wisdom, one must observe." --Marilyn vos Savant Tests for Actors: Click to View or Add Text.

FilmActing

Homework

(monologue and scenes work)
Soviet Historical bg: from the Moscow Art Theatre to Symbolism (St. Petersburg) to "Theatre October" (1920s) to his arrest and death... The century and one artist's life. The story of Russia of this period could be seen as a spectacle through M. fate...

Well, we have to talk about the Meyerhold's resurrection: M. after his death, Meyer today... and tomorrow.

Meyerhold, the Communist -- for theatre historians.

Meyerhold for actors (directors) is the aim!

Meyerhold

Bio-Glossary

[monologue and scene demonstrations?]

NB

Most important terms and formulas must be introduced. The order -- start with the StageMatrix. Actor = Creator + Medium [where do I do it first? Fundamentals? ] Also, references (context) to Method (why historically BM came out as a reaction to Stanislavsky). "Private in Public"? The second -- Public -- asks for theatricality; means of communications and expression (physical theatre = international language). BM and the Silent Era in cinema (movement).

Masterclass (lecture) is a must before any workshop. [ What if they do not know about "acting areas" or/and "floor plans"? ] Should IMPROV be in the beginning? Ask they do the improvization and than take it apart with the BM cycles. What to give them before the masterclass (handouts, the same for all)? To use their audition monologues?

Spectator

THR121 -- Acting One
Russian American Theatre Files @2000-2005 index * Next: Workshop * Biomechanics Glossary: Click to View or Add Text.

2004+ new:

projects: BM software

texts: Meyerhold

webpages: new BM directory for Spring 2004!

Links

Shrew04

playsChekhov, Ibsen, Shakespeare

Actingland.com - Acting resources, career guides, and casting information.

Farces
2008 --

ReadSpeaker AudioFeed - Podcast of this blog

The irony: I am more interested in M. theories of staging (Stagematrix -- directing), the BM is only a part of the big picture. You have to have this new approach to acting and actors, if you want to view the spectacle in mesuarable terms. Symbolism (the begining of semiotics in literature) leads to formalism (and structiralism)... and deconstruction (first phase of any construction). Deconstrustion of "natural" acting and drama, transforming them into "material" (film tactics). BM is a small part of Meyerhold's intentions; he had ten years to experiment ("Socialist Realism" in 1934, the First Writers Union's Congress).

Could it be that M. is for the next century directors?

A prophet?...

An artist.

...

...

You see, but you do not observe. The distinction is clear. --Sherlock Holmes to Watson, A Scandal in Bohemia

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* home * about * guide * classes * advertise * faq * contact * news * forums * mailing list * bookstore * ebooks * search * calendar * submit your link * web * you may link to any page in my sites
Vitual Theatre Pages
Virtual Theatre: Stage, Film, Web = Future Forms, Theatre of One, the SpectActor!
Get Site Info [ scene to do in the part II, workshop -- demonstration (M and Brecht technique) ]
SCENE III A room in PETRUCHIO'S house.

	[Enter KATHARINA and GRUMIO]

GRUMIO	No, no, forsooth; I dare not for my life.

KATHARINA	The more my wrong, the more his spite appears:
	What, did he marry me to famish me?
	Beggars, that come unto my father's door,
	Upon entreaty have a present aims;
	If not, elsewhere they meet with charity:
	But I, who never knew how to entreat,
	Nor never needed that I should entreat,
	Am starved for meat, giddy for lack of sleep,
	With oath kept waking and with brawling fed:
	And that which spites me more than all these wants,
	He does it under name of perfect love;
	As who should say, if I should sleep or eat,
	'Twere deadly sickness or else present death.
	I prithee go and get me some repast;
	I care not what, so it be wholesome food.

GRUMIO	What say you to a neat's foot?

KATHARINA	'Tis passing good: I prithee let me have it.

GRUMIO	I fear it is too choleric a meat.
	How say you to a fat tripe finely broil'd?

KATHARINA	I like it well: good Grumio, fetch it me.

GRUMIO	I cannot tell; I fear 'tis choleric.
	What say you to a piece of beef and mustard?

KATHARINA	A dish that I do love to feed upon.

GRUMIO	Ay, but the mustard is too hot a little.

KATHARINA	Why then, the beef, and let the mustard rest.

GRUMIO	Nay then, I will not: you shall have the mustard,
	Or else you get no beef of Grumio.

KATHARINA	Then both, or one, or any thing thou wilt.

GRUMIO	Why then, the mustard without the beef.

KATHARINA	Go, get thee gone, thou false deluding slave,

	[Beats him]

	That feed'st me with the very name of meat:
	Sorrow on thee and all the pack of you,
	That triumph thus upon my misery!
	Go, get thee gone, I say.

	[Enter PETRUCHIO and HORTENSIO with meat]

London:

(c)anatoly : filmstudy.org & vtheatre.net

"Essential to a serious actor is the training and perfecting of the outer instrument-comprising his body, his voice and his speech. This instrument is the violin on which he will play." --Uta Hagen, “Respect for Acting” (1973) PLAYS: Click to View Links.

Pause. Head back level, eyes front, pause. She clasps hands to breast, closes eyes. Lips move in inaudible prayer, say ten seconds. Lips still. Hands remain clasped. Low. --Samuel Beckett, “Happy Days"

film house vtheatre books acting pen map-mining movies-forum
"You can observe a lot by watching." --Lawrence Peter ("Yogi") Berra
Theatre w/Anatoly
Title: Burying The Cat

 From: Monty Python's Flying Circus

  Transcribed By: Jonathan Partington


Mrs. Conclusion (Chapman): Hullo, Mrs. Premise.

Mrs. Premise (Cleese):	   Hullo, Mrs. Conclusion.

Conclusion: Busy Day?

Premise:    Busy? I just spent four hours burying the cat.

Conclusion: *Four hours* to bury a cat?

Premise:    Yes - it wouldn't keep still.

Conclusion: Oh - it wasn't dead, then?

Premise:    No, no - but it's not at all well, so as we were going to be on the

	    safe side.

Conclusion: Quite right - you don't want to come back from Sorrento to a dead

	    cat.  It'd be so anticlimactic.  Yes, kill it now, that's what I

	    say.  We're going to have to have our budgie put down.

Premise:    Really - is it very old?

Conclusion: No, we just don't like it.	We're going to take it to the vet

	    tomorrow.

Premise:    Tell me, how do they put budgies down, then?

Conclusion: Well, it's funny you should ask that, because I've just been

	    reading a great big book about how to put your budgie down, and

	    apparently you can either hit them with the book, or you can shoot

	    them just there, just above the beak.

Premise:    Just there?  Well, well, well.  'Course, Mrs Essence flushed hers

	    down the loo.

Conclusion: No, you shouldn't do that - no, that's dangerous.  They *breed* in

	    the *sewers*!

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

Acting amazon Meyerhold-Formula

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