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2007-2008 : maybe in "Spectator 2" -- spectator as "riter" (subject and object of social rites, including new).
... Actor is "Spectator Livel One" (Spectator of First Degree and Writer as "Spectator 2", Director = "Spectator 3" ...) 2009 :
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Peggy Phelan: 'Performance's only life is in the present. Performance cannot be saved, recorded, documented, or otherwise participate in the circulation of representations of representations: once it does so, it becomes something other than performance'...
[ advertising space ]   Fundamentals : BioMethod This directory is a "sleeper" -- one of those projects of mine that dare to my heart, but without attention. Featured Links: Read BioMechanics Pages for Actors are full of references to Spectator!  Classes: Aesthetics Drama: Click to View List Entries.
meyerhold.us  Method for Directors? stanislavsky.us  ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan prof. Anatoly Antohin Theatre UAF AK 99775 USA (907)474-7751  my eGroups
Biomechanics Glossary: Click to View or Add Text.
Summary
QuestionsAre you a professional? Audience is your study! ^ The Shrew Film Directing "showcase" ^ Notes(Phelan Unmarked: the politics of representation 1993): To attempt to write about the undocumentable event of performance is to invoke the rules of the written document and thereby alter the event itself. . . the labor to write about performance (and thus to “preserve it” it) is also a labor that fundamentally alters the event. (148).
Directing Actor (Stagematrix) + Total Acting (new) Godot 2006 In Beckett audience is on stage. On the set. (Should the curtain in the house be up? Let them feel uncomfortable. Or to raise the courtain at the end -- you are on stage. After the words "Lets go.") 2007 spectator.vtheatre.net -- new [ notes in anatolant.vox.com : virtual theatre blog? ] ...
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Or must I say SPECTATOR as ACTOR?* 101. Audience is moved by emotions, not ideas.You know that it only looks like that the public doesn't act, don't you see it?
Of course, they do.
That's why the phenomena of theatre exists -- because they are the secret actors, the audience.
Take a good look at them!
They are "secret performers" (even Freud wrote it). Without their inner acting the mimesis and indetification effect won't be passible. Their invisible acting (and partnership with the stage) gives the actors that energy (and fear).
Actor is this PROJECTED DESIRE of the spectator!
Actor is a dream of living being alive!...What is this dance of two, the stage and the house?
[The last two directories -- Virtual Theatre and Theatre Theory -- is the place where the development of the BOOk of SPECTATOR will be done. This is a research field.] * 111. Audience is the most important character.
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2007-2008
in focus: StageMatrix reading: see BOOKS pages in all directories
 Chekhov, Ibsen, Shakespeare
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[ old plan for a textbook ]
CONTENTS Acknowledgement Preface: 24 hours acting Intro: Biomechanics--how to use it? PART I. SPECTATOR AS ACTOR CLASS ONE. DRAMA NATURE & STRUCTURE (3 texts) Composition of Action: Aristotle's Poetics and Three Step Cycle by Meyerhold. The Beginning, The Middle, The End OFF-ACTING: AUDIENCE-->RE-ACTING-->PRE-ACTING AUDIENCE--NATURE OF DRAMA CLASS TWO. ACTOR'S ACTOR Artist and Medium. ACTOR'S TEXT PRE-ACTING PART II. SPECTATOR AS WRITER (MONOLOGUE) CLASS THREE. FIRST TEXT I. Monologue or Scene II. Improv Situation (Given Circumstances) and Character(s) Actor's Text--PERFORMANCE. Subtext -- action CLASS FOUR. FIGHT. RE-ACT! Conflict open: Contra-Test v. Sub-Text. No action possible without conflict. Objective and obstacle. Inner conflict, inner monologue CLASS FIVE. DRAMATIC SPACE Scenometrics: Space in Action Time Matter in 3D PART III. SCENE CLASS SIX. Space: floor plan. Blueprints for action CLASS SEVEN. SPACE OF TIME. TIME MASTER (DIRECTOR'S TEXT) Subjective Time: Character's universe. POV CLASS EIGHT. Character treatment 5 W's: questions to ask -- Who, Where, When, Why, to Whom? PART IV. PLAY CLASS NINE. Identification. Mask and face. CLASS TEN. YOUR STYLE Styles: Grotesque, Realism, Naturalism and farce. CLASS ELEVENTH. COMEDY AND COMEDIA CLASS TWELVE. SYSTEM OF METHOD Stanislavky v. Stanislavsky APPENDIX Glossary Bibliography List of pictures Syllabi Home work (Journal and Camera) Tests (6) = Auditions Historical Notes on Biomechanics Three acting levels in one book? Defined by the degree of difficulty? The programs are different and the students in the same class are on different levels of being ready. Each "class" in the book: basic, intermediate and advanced. What is an event? How else could action be built? How does spectator act? Creating the space (from Empty Space) -- spectator's gaze. Pre-acting: creating the object to react. I haven't noticed when I began to use Meyerhold's formula in acting classes: ACTOR = CREATOR + MEDIUM Perhaps, out of frustration with exercises, when the second part "Medium" was over-emphasized. They weren't ready help themselves, they needed a couch, a teacher and a director. I watched them going from Fundamentals of Acting to Intermediate Acting, to Advanced Acting One and Advanced Acting Two.... When would they be able to do REAL home work, when "Creator" will begin to shape the Actor? Something was missing, they understood the need for Actor One, but somehow they didn't know how to apply it. I saw the same faces in my directing classes and playscript analysis. Finally, I noticed that more and more I talk about spectatorship. Yes, I have to start where theatre begins. I brought in another Meyerhold's definition -- Pre-acting. I couldn't enter the time exploration without teaching the space. There are many reasons why I haven't written this book earlier and a very few to write it. Finally, I realized that the course must be reversed, I have to start with text and arrive to exersices when we in class will be ready to need.
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My GuestBooks: Click to View or Add Links.
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Theatre Dictionary I: Click to View or Add Text.
* 100. Audience can't be told what to think and feel.
... because they are directed. Directed to this experience...
Experience of themselves.
Who does it, the directing? Actors. They experince this dramatic (theatre) experience first.
After they went trough memorization and blocking... Theatre is the only rehearsal, which life allows.
* 83. Audience imagine more in their head than you can ever act out.
* 82. Audience feels, they don't think... They think later. And only if the show was good.
Numbered quotations are from http://www.abwag.com/audience.htm
Film-North * Anatoly Antohin
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