2009 LUL
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Next: Film? Method? Directing?
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...
2003 * THR221 Intermediate Acting : new pages in BM+ @ biomechanics.vtheatre.net *
SummaryM: "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 III : Method ** Stage Directions : Stagematrix ** Film Directing : Filmmaking for Actors ** Playscript Analysis : Grammar of Drama NotesPlease, 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? Eisenstein: Всякий согласится, что объемлющим требованием актерски-режиссерского взаимного творчества будет единство, стиля, единство стилистического предвидения и воплощения вещи. Для вещи большой стилистической (не стилизационной!) отчетливости это требование возрастает сугубо. Внутри этого единства возможна любая кооперативная творческая взаимосвязь. И вовсе не только актера и режиссера. В не меньшей мере режиссера и композитора. И, может быть, больше всего в паре оператор - режиссер. Мы имеем здесь в виду в первую очередь кино, где все эти проблемы выступают напряженнее, интенсивнее и сложнее. [ "Волки и овцы. Режиссер и актер", 1935 ] At Work with Grotowski on Physical Actions by Thomas Richards; Routledge, 1995
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& thr blog
Act Four. The theatre is full. Pre-show music. Curtains up.
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... act 5?
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?
"Theory in Action"? ...
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).
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!
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?
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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.
Listen, each showcase directory has its own title, intro, notes pages and I hope that they could take of presentation of the text and directorial ideas. Get a monologue from the online plays and start your own analysis (review from part I).
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?
* March 2006: Go.dot -- 100 years since Sam Beckett's birth *
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...
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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An online course supplement *
2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
Film-North * Anatoly Antohin * eCitations *
Acting amazon
