BIOMECHANICS for Opera Acting

ActJokes: Click to View or Add Text.

Bookmark vTheatre! amazon.com *

Mikado
2008 acting 2
[ advertising space : webmaster ]

Use the scenes from SHOWS directory!
BM-title

Mikado in Shows Directory

BM doesn't mean jumping or standing on your head. In the scene we have, normal and natural question to ask -- why KO talks about the wedding expenses NOW? How to help actor to make it bigger? visible! More comedic!

We went through the "money" improvisations. He counts the money -- and this is what springs the topic! The paper money is the prop that brings them together! Even the appearence of Pooh-Bah on stage is motivated now -- the "smell" of money (Ko-Ko counts them on stage)!

One takes money from another, gets more, the money are taken back. It went on and on...

We keep the best, we cut the rest.

This "money etude" was evolving even after we opened the show!

Now, we already have those indications in the script about "acting areas" -- but to help the actor to go from "First Lord of the Treasury, Lord Chamberlain, Attorney General, Chancellor of the Exchequer, Privy Purse, or Private Secretary"?

Are there some symbols in his costume to indicate all those functions?

Remember our two gods of art and theatre from Fundamentals of Acting?

Dionysis-Biomechanics
Dionysus -- Biomechanics

Apollo-Method
Method -- Apollo

Analysis + Physical Improv

Summary

2004: Film Directing, Cinematic Motion
Peking Opera (Images of Asia) Buy from Amazon.com Peking opera is known worldwide for its lively music, colorful costumes, and thrilling displays of acrobatic prowess. This illustrated introduction features descriptions of the opera's character types, selected pieces, and its history in order to place this rich and unique art form in the cultural world of contemporary China.

Questions

The Kabuki Theatre of Japan Buy from Amazon.com One of the most comprehensive handbooks available on Kabuki theatre provides readers with all the information they need to understand and appreciate this exciting amalgam of dramatic and musical arts. A clear and thoughtfully written text describes the theater’s development in the context of Japanese history, with detailed analyses of actors’ techniques, music and dance, plays and playwrights, the playhouse’s design evolution, and six representative Kabuki plays. Includes glossary of Japanese terms. Invaluable to students, scholars and anyone intrigued by classical Japanese theater.

Through our partnership with Amazon.com, we are offering an exclusive Film-North version of the award winning Alexa Toolbar. This toolbar is a great way to surf the web because it constantly provides you with Related Links. It's a great time saver! Plus, when you download and use the toolbar, you'll help support Film-North.
One Act Fest
Kabuki-Style
^ This is DramLit "showcase" ^

Notes

Chinese Theater: From Its Origins to the Present Day Buy from Amazon.com
filmplus
2004 & After

The Cambridge Guide to Asian Theatre Buy from Amazon.com

This paperback edition, incorporating corrections and updates, contains more distilled information on the theatrical arts of Asia-Oceania than any other single volume yet published. A broad-ranging pan-Asian essay lucidly explores the basic themes of ritual, dance, puppetry, masks, training, performance, while national entries provide the historical development of theater in twenty countries. Major theater forms of each country are accompanied by entries on significant playwrights, actors and directors. An index and reading lists make this work indispensable.

...


INDEX * fundamentals of acting * Theatre w/Anatoly * Virtual Theatre * Theatre Theory * Virtual Theatre Forum * Classes * Method * StageMatrix: Directing * Script Analysis * Shows * Spectator * Plays * FilmMaking 101 * vTheatre * 200X Aesthetics * Mailing List & News -- subscribe yourself * BM+ * Anatoly Film Blog & thr blog
Mikado
Comedy scenes
In opera acting is primitive. They are singers, this is the main medium -- music. Well, the staging must be even more STRUCTURED!

Watch the paper theatre, actors! Don't you see that every move is CHOREOGRAPHED, it's a choice, it's shaped! Why do you think that the LAWS are different for your body?

The laws are the same, how you work with them is different.

Singing actors gravitate to the center and downstage, it is okay, as long as their way there (closer to the public) is organized. (If not, they just get there in this singing postion, forget the theatre!)

What does it mean? You make "obstacles" that prevent them from getting there right away. You do not use this, reserving it for the future, you arrange your mise-en-scenes around it. Stage Left -- Pooh, Stage Right -- Ko?

Opera set has the tendency to be "flat" -- how to make it deep? How to make the space, where they can't sing, work?

Mikado

Remember we talk about the geometric pattern for your character on stage? Is it a circle? Square? Triangle? You see, our both characters can arrive to this reserved spot, but in their own way!

Here is your physical change in the scene, when the two exit together. What do we say? That they are the partners in stealing the public money! The comedy is in how they do it!

The Mikado, Act 1, scene #1

Enter Pooh-Bah.

KO. Pooh-Bah, it seems that the festivities in connection with my approaching marriage must last a week. I should like to do it handsomely, and I want to consult you as to the amount I ought to spend upon them.

POOH. Certainly. In which of my capacities? As First Lord of the Treasury, Lord Chamberlain, Attorney General, Chancellor of the Exchequer, Privy Purse, or Private Secretary?

KO. Suppose we say as Private Secretary.

POOH. Speaking as your Private Secretary, I should say that, as the city will have to pay for it, don't stint yourself, do it well.

KO. Exactly--as the city will have to pay for it. That is your advice.

POOH. As Private Secretary. Of course you will understand that, as Chancellor of the Exchequer, I am bound to see that due economy is observed.

KO. Oh! But you said just now "Don't stint yourself, do it well".

POOH. As Private Secretary.

KO. And now you say that due economy must be observed.

POOH. As Chancellor of the Exchequer.

KO. I see. Come over here, where the Chancellor can't hear us. (They cross the stage.) Now, as my Solicitor, how do you advise me to deal with this difficulty?

POOH. Oh, as your Solicitor, I should have no hesitation in saying "Chance it----"

KO. Thank you. (Shaking his hand.) I will.

POOH. If it were not that, as Lord Chief Justice, I am bound to see that the law isn't violated.

KO. I see. Come over here where the Chief Justice can't hear us. (They cross the stage.) Now, then, as First Lord of the Treasury?

POOH. Of course, as First Lord of the Treasury, I could propose a special vote that would cover all expenses, if it were not that, as Leader of the Opposition, it would be my duty to resist it, tooth and nail. Or, as Paymaster General, I could so cook the accounts that, as Lord High Auditor, I should never discover the fraud. But then, as Archbishop of Titipu, it would be my duty to denounce my dishonesty and give myself into my own custody as first Commissioner of Police.

KO. That's extremely awkward.

POOH. I don't say that all these distinguished people couldn't be squared; but it is right to tell you that they wouldn't be sufficiently degraded in their own estimation unless they were insulted with a very considerable bribe.

KO. The matter shall have my careful consideration. But my bride and her sisters approach, and any little compliment on your part, such as an abject grovel in a characteristic Japanese attitude, would be esteemed a favour.

POOH. No money, no grovel!

[Exeunt together.]


When we established the MOVEMENT DESIGN for the scene, we can run the scene faster (comedy effect) with the stronger stops.

Here we have both: situation comedy and comedy of characters. Comic hero is below average (you and me), according to Aristle. How to express it?
Situation Comedy: Ko's objective? Pooh's?
The objective of one character is the abstacle of the other.

PS

Ko's inner conflict -- money in his left hand, money -- in the right. How much to steal from the city? Pooh has no money in his hands. Four hands now to sort the money. And two mouths! Also, Ko has them everything in his costume and some of them must migrate into Pooh's costume. You see it?

[Draw the floor plan for the scene and bring it to class.] scenes online: Click to View Links.

Run the MOTION checklist for the scene:
Did you establish the contrast (ocnflict) between the two?
What is the general design for the movement of the two? Do you use ALL 9 squares (downstage, center, left, right and etc.)?
Use of prop? None? Too bad.
Preacting? Do you establish the situation and character(s) visually before the first line is said? Both -- situation comedy and comedy of characters! Is the genre present? (Do they laugh before you speak?)

Analysis of the scene in your Actor's Journal! Monologues: Click to View Links.

Homework

Do the BM cycles for Pooh-Bah entrance. How many of them? When, why, how Ko-Ko is noticing him? Does he walk, stop, walk again, while counting (to help the future changes in the scene)?

The more serious your character = the greater comic effect.

NB

Meyerhold: Click to View or Add Text.

* web & classes online : acting (Method) @ Theatre w/Anatoly * Film-North * Virtual Theatre and Anatoly Antohin

Next: comedy
@2000-2003 index *
Google
Search WWW Search filmplus.org Search vtheatre.net

©2004 filmplus.org *
* 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
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

Spectator: Click to View or Add Links.

Traditional Chinese Plays (Longing for Worldly Pleasures) Buy from Amazon.com

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

What Is Theatre? : Incorporating The Dramatic Event and Other Reviews, 1944-1967 Buy from Amazon.com What Is Theatre?, originally published in 1968, collects all of Eric Bentley's theater criticism. Bentley's most productive years as a reviewer coincided with some of the greatest years of twentieth-century drama. His essays cover the premieres of works by T. S. Eliot, Tennessee Williams, Jean Anouilh, and Arthur Miller, among others, as well as subjects as far-ranging as Charlie Chaplin and the Peking Opera--and each contains insights that are still relevant. What Is Theatre? is essential reading for anyone interested in understanding what our American theater has been, is now, and could become.

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

Acting amazon

biomechanics home: 0 * 1 * 2 * 3 * 4 * appendix * links * references * notes * faq * archives * biblio * popup * list * 2007 google.com/group/acting2 * notebook * amazon.com/kindle * my shared page * lul teatr
(c)anatoly : filmstudy.org & vtheatre.net