Next: Film? Method? Directing? [ advertising space : webmaster ] In fact, this is Part IV and V together. In addition to application of BM to different scenes and genres, we have to get one character and to follow its evolution through the entire play. Let say Malvolio in 12th Night (Comedy-Classic Showcase Studies). Objectives and obstacles in every scene, super-objective and so on (you should know it by now). Usually this is the last part of the semester -- and the sceneds for finals (sometimes, often, we do the whole play, cut version). Start with casting yourself -- and go do your homework! Organization of the book : SYNOPSIS This part of the work is not spoken about often. Not unless you are a star. Do you want to be a star? Well, start treating yourself as such. Do you have your wish list? The roles you want to play. You should. Write it down, the list. Get the monologues from those play, memorize and rehearse them, audition with them. Do you know what you shouldn't do? You have to know. Do you know your strong and weak sides? You must.... Do you keep your actor's journal? Do you have one? Well, who is your manager? Your agent? Your publicist? No, you are wrong, you have them! It's you. Do the work! The most useful applications of BM were in 12th Night (archives) production, because it was physical theatre, comedy and on our big stage. I don't believe in BM as STYLE, although we try it in WWWilde, but I had to give up the idea. BM is training... ActJokes: Click to View or Add Text. 2003 * THR221 Intermediate Acting : new pages in BM+ @ biomechanics.vtheatre.net * More and more I use film terminology in BM class; simple as CU and MS frame -- or more complex, like line of action, axis of tention. Film Glossary: Click to View List Entries. Film Abbreviations & Terms: Click to View List Entries. Summary M: "The grotesque, advancing beyond stylisation, is a method of synthesising rather than analysing. In turning away details, the grotesque recreates the fullness of life." (Symons: 65-6). Questions "Is it not true that Meyerhold interrupted Verhaeran with the speech and proclamation of revolution? Is it not true that, concurrently with Meyerhold, Max Reindhart introduced the spectator into the action by distributing a crowd of Parisians along the levels of the auditorium in his 'Danton'? Is it not true that we attempted to seize the great majesty of the crowd in the mass presentations on the squares of Petersburg? (Baer 72) One Act Fest * Acting I : BioMethod * Acting II : Biomechanics * Acting III : Method ** Stage Directions : Stagematrix ** Film Directing : Filmmaking for Actors ** Playscript Analysis : Grammar of Drama Notes Please, read acting for the camera pages in advance: Actors in Film Directing, Film in BM and Camera in Method Acting. 2004 & After There are several Chekhov's one-act comedies I use for class projects in my acting-directing projects (finals): Wedding, On the High Road, Proposal, Bear. [public domain] Main Stage UAF Fall 2005 * filmact.txt "Film acting" is the bigger (paying) market than theatre-- how much (or little) should they know about it? Oedipus review Shrew poster Eisenstein: Âñÿêèé ñîãëàñèòñÿ, ÷òî îáúåìëþùèì òðåáîâàíèåì àêòåðñêè-ðåæèññåðñêîãî âçàèìíîãî òâîð÷åñòâà áóäåò åäèíñòâî, ñòèëÿ, åäèíñòâî ñòèëèñòè÷åñêîãî ïðåäâèäåíèÿ è âîïëîùåíèÿ âåùè. Äëÿ âåùè áîëüøîé ñòèëèñòè÷åñêîé (íå ñòèëèçàöèîííîé!) îò÷åòëèâîñòè ýòî òðåáîâàíèå âîçðàñòàåò ñóãóáî. Âíóòðè ýòîãî åäèíñòâà âîçìîæíà ëþáàÿ êîîïåðàòèâíàÿ òâîð÷åñêàÿ âçàèìîñâÿçü. È âîâñå íå òîëüêî àêòåðà è ðåæèññåðà.  íå ìåíüøåé ìåðå ðåæèññåðà è êîìïîçèòîðà. È, ìîæåò áûòü, áîëüøå âñåãî â ïàðå îïåðàòîð - ðåæèññåð. Ìû èìååì çäåñü â âèäó â ïåðâóþ î÷åðåäü êèíî, ãäå âñå ýòè ïðîáëåìû âûñòóïàþò íàïðÿæåííåå, èíòåíñèâíåå è ñëîæíåå. [ "Âîëêè è îâöû. Ðåæèññåð è àêòåð", 1935 ] Michael Chekhov At Work with Grotowski on Physical Actions by Thomas Richards; Routledge, 1995 ...

Part Four: Theory in Action

Act Four. The theatre is full. Pre-show music. Curtains up.

...

... act 5?

"Theory in Action"? ...

You are probably sick from this work in every chapter -- the homework. Nothing I can do, guys. This is where the secret is! Stage is for performance, folks! Even during the rehearsals. It's the show time.... To show what? To show what you developed outside of it!

What? Again the same pieces? Wilde, Gogol, Shakespeare?

Well, we are not done with them, we are not better than them yet, the masters! Did you work on the monologues for the genre take only? Yes, not the character, but the comedy only? With only one task in mind -- to make funny! And funnier! How to make them in class laugh after ten takes?

Ah, you see?

Do it in stages; go through the scene, working on the character or the situation only. Step-by-step: don't go further, unless you got this or that lyer (the oil painting technique).

HOMEWORK -- The Cases

This is the one word that answers all your prayers -- the homework!

For one minute on stage you need at least an hour of the rehearsal time... and many hours of work before it.

Here is the real test -- can you use theory in practical applications?

...

...

Leonardo -- Artist-Scientist

In Fundamentals of Acting the last part is called "Theory in Action" -- here is the same, the application of BM to the scenes and monologues. I will use the text of the "Inve$tor General" (my adaptation based on Gogol's "The Inspector General"). Maybe "12th Night" and "The Importance of Being Earnest"...

Oh, well! Why not Dada? It work very well in class! Or Mikado?

Maybe "Cyrano" (another copyright free text, see Plays)...

There are two pages: Monologues and Scenes to enter the showcases.

PS

Study of the scene structure and character structure: two tasks.

I started the showcases in Part 3. Homework... Read the whole play "12th Night"!

NEW: Into to BM @ Virtual Theatre! 12th Night -- finals. Make online tests for some scenes?

"Glossary Under Construction"

Next: Method Acting

Let me repeat myself (from Film600 and script.vtheatre.net):

Where teaching and studying (research) meet --

Theme-thought, according to different playwrights (Shakespeare, Ibsen, Strindberg, Chekhov and so on) and directors (Fillini, Kurosawa, Tarkovsky, Bergman pages).

Connections with other themes (list): family, gender and sex...

Finally, my own practical investigations: shows.vtheatre.net (only recently I began to make themes pages, Don Juan 2003, for example).

And the nonfiction (writing), of course: HIM, Father-Russia, PostAmeriKa, Self, POV, Tech (gatepages are in WRITE directory).

Yeah, yeah, there is more -- "philo" pages, metaphysics: in theatre theory directory, for instance (topics-bar: space, time and etc.)
Plus, Virtual Theatre and Book of Spectator!

Web? Oh, this is just medium. Like stage, screen, writing...

Search WWW Search filmplus.org Search vtheatre.net

Virtual Theatre: Stage, Film, Web = Future Forms, Theatre of One, the SpectActor!

2004+ new: projects: BM software texts: Meyerhold webpages: new BM directory for Spring 2004! Links Shrew04 Chekhov, Ibsen, Shakespeare Actingland.com - Acting resources, career guides, and casting information. 2008 --

House is Pregrant with Stage!

Venice Carnival 2002

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Film Analysis

ACT and DIRECT photo-archives:

The Possessed

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

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