2009 LUL
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2009 :
... Character into Role : characterization, physicalization, visualization, vocalization [ 3+ levels, icluding film as "+" ] : dictionary { "4 Zs" -- masterclass? } where? SophoclesBeckett AA, ET ?
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"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)
 BioMX Forum Workshop + lecture
ACT: Cycles One, Two, Group etudes.
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& thr blog
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
Homework
(monologue and scenes work)
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!
[monologue and scene demonstrations?]
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?
projects: BM software texts: webpages: new BM directory for Spring 2004!  Chekhov, Ibsen, Shakespeare
Actingland.com - Acting resources, career guides, and casting information. 
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Could it be that M. is for the next century directors?
A prophet?...
An artist.
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You see, but you do not observe. The distinction is clear. --Sherlock Holmes to Watson, A Scandal in Bohemia
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]
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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"
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
