Fall 2000
THR331 Advanced Acting (3)
THR413 Playscript Analysis (3)
Spring 2001
Directing -- "Importance of Being Earnest" by Oscar Wilde
On leave:
Papers:
7th Performance Studies International Conference, Germany
Popular Culture Association/American Culture Association, University of Nevada
25th Modern Drama Conference, Ohio State
Advising
Course Development: new websites for THR200X Aesthetics -- http://geocities.com/anatolant/200/title.html and THR470 Film Directing -- https://afronord.tripod.com/film/intro.html
Between Theatre and Ritual: Role of the Spectator in Virtual Theatre
At University of Alaska Fairbanks we experiment with the webcasting of live shows since 1999 production of The Three Sisters. The Twelfth Night was to follow and now -- The Importance of Being Earnest. We call it Virtual Theatre: shows are directed and performed with the cameras present on stage and the video signal is mix/cut for the digital broadcasting via Internet in real time.
There are many new and challenging aspects in vTheatre productions, but the main is a different aesthetic position of the public, their reactions are incorporated into a narrative, they become a stage partner (we call them "SpectActors"). They as well as the "camera-performers" are not scripted and there is no storyboard, the camera follows the action which has different focus every night. We used on stage screens in order for actors and audience to interact not only with the cameras, but with the images on the screen.
In order to solve the conflict between stage acting and acting for the camera, we approached performance as a ritual to bring the actors and the audience to the same level. Actors and camera people are seen as the most active spectators and we plan to let the audience to take control of the cutting the shots by using the laptops in the house and/or from the computers in different locations. Of course, the quality of the monitor's onscreen images (for distant spectators) is not great, but the interactive aspect is there to use for live shows.
Anatoly G. Antohin
Assoc. Professor & Head
University of Alaska Fairbanks
Theatre UAF
AK 99775
907-474-7751
http://www.uaf.edu/theatre
PS. This is my proposal for a paper. Workshop/Demonstration is possible, but requires a rehearsed scene (actors) and a film crew (2-3 cameras), screen and switcher (editor). Webcasting will require additional equipment.
* for 20-30 min presentation I still would like to have a monitor with the online computer connection. For more details see websites:
This is so confusing! I myself can't find the abstracts of the papers accepted already!
Some I have to drop; the Comparative Drama Conference in Ohio conflicts with the iPS congress in Germany.
LETTER OF INVITATION
Dear Anatoly Antohin,
We are delighted to confirm that you have been invited to give a
presentation on "Between Theatre and Ritual" at the 7th PERFORMANCE
STUDIES CONFERENCE 2001.
The PERFORMANCE STUDIES CONFERENCE series is the major international
academic conference for performance studies scholars and theatre
scholars
with an interest in performance. Under the title 'Translation
-Transition-Transformation. The Impact of Discovering Languages,
Changing Perspectives, Transforming Through Performance', the 7th
PERFORMANCE STUDIES CONFERENCE in Mainz 2001 will feature keynotes,
papers, roundtables, case studies, reports on research and teaching
schemes,
performances and workshops. We are expecting up to 400 scholars from a
variety of disciplinary and geographical backgrounds (e.g. USA, Canada,
UK,
Ireland, Belgium, Croatia, Germany, Poland, Russia, Slovenia, Bulgaria,
Tunesia, Morocco,
Switzerland, Yugoslavia, Israel, Egypt, South Africa, India, Japan,
Australia, New
Zealand, Brazil, Mexico) to join us for this event.
The 7th PERFORMANCE STUDIES CONFERENCE will be co-hosted by the
association for scholars and practitioners working in the field of
performance, PSi PERFORMANCE STUDIES international and the Department of
Theatre Studies at Mainz University.
Our delegates share a great interest in performance and performance
analysis, and your presence would be invaluable as a source of
information
and contact. Unfortunately the conference cannot give you any financial
assistance. In the hope that you will be able to join us for this event,
I
remain
Yours sincerely,
Vera Apfelthaler
Assistant Conference Director
On behalf of the Conference Programme Committee:
Christopher Balme
Ute Ritschel
Universitaet Mainz
Institut fuer Theaterwissenschaft
PS7 Conference Office
Att. Vera Apfelthaler)
Welderweg 18, 55099 Mainz
Germany
Phone: (+49) 6131- 39 23 775
Fax: (+49) 6131- 39 23 776
email: ps7conference@mail.uni-mainz.de
http://www.germanistik.uni-mainz.de/Theaterwissenschaft/Eingang.html
Popular Culture Association/American Culture Association
Felicia Campbell
Department of English
University of Nevada
Las Vegas 89154-5011
702-895-3457
702-895-4801 (fax)
raksha@nevada.edu
American Pop Origins of Russian Mafia
The utopian tradition of the Soviet Era is still in full force, but now the New Russians are imitating another non-exiting model -- America as they see it at the movies. "The American Experience" and values are presented by the popular entertainment to the ex-Soviets and their social behavior is shaped by this cultural model no less than by the economics. In traditions of life imitating art, the postmodern simulacra replaced the reality. Most of the Russian economy is a spectacle and they need it perhaps even more when they have no ideology.
Perhaps, the most interesting aspect of this phenomena is in what do. The New Russians select from the American pop culture. The state powers are lost and there is a need to replace this structure with the personal power. "American Russia" operates on dollars and managerial style from "God-Father" (since the actual economic structure is absent, including the financial structure). Unlike the previous American influence on the dissidents, this time the value system is presented for the masses and they try to implement the American success within the culture without such cultural traditions. This experiment has already over ten years of data and only recently the New Russians began to realize that the screen stories can't be translated into actual Russian life.
Anatoly Antohin
Assoc. Prof. & Head
Theatre UAF
University of Alaska Fairbanks
Fairbanks AK 99775
907-474-7751
http://members.spree.com/anatoly48/frussia/intro.html
Father-Russia Files
Spring 2001
I will be moving. A lot.
Here are some pages to help me (and you) to follow it.
Fall 2001
Conferences (only, if something special, I will go again).
Publishing? I guess, the "Biomechanics for Actors" and "System of the Method" to go first. When? I do not know, when the text-only version will be ready. I work on it, I even put on hold the nonfiction, but I do not have the first drafts (there are some empty spots in the composition of the textbooks). Also, I have to make my mind about the form; the scenes with Stanislavsky and Meyerhold! I fear to mess up the workbook idea with those dialogues. I would like to have this lively narrative, but only if it could help the books.
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