2009 LUL
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Character into Role : characterization, physicalization, visualization, vocalization [ 3+ levels, including film as "+" ] : dictionary { "4 Zs" -- masterclass? }
biomechanics.vtheatre.net -- focus on non-verbal LUL Theatre-School : acting master-classes, workshops, internships * Lul shows [ main stage ] * Lul-Lab [ mini-season ] * (my) demonstrations [video?] 2009 updates -- T-blog [anatolant.spaces.live.com] category : acting
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Bookmark vTheatre! amazon.com *
| 2005 Chekhov * Farces
THR221 Intermediate Acting
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& thr blog
Theare is physical. Period. It better be, when everything else becomes digital. Theatre is the last refuge of the Real! Theatre's future is bright. When everything will be virtual, Theatre Live Shows will be like a ritual and church.I made a page for Commedia (and Kabuki) in order to make sure that the traditions of physical theatre behind BM are not forgotten.
Theatre was born of rites, song and dance of the flesh. But physical doesn't have to be something opposite to psychological. Meyerhold v. Stanislavsky? The conflict between those two Russian directors belongs to history.
I keep repeating it: Meyerhold developed the theory of Biomechanics for his practical needs as a director. Not only for professional actors, but because in his revolutionary mind he believed that ANYBODY could and should act. A dedicated Marxist, he thought that every peasant or worker can do theatre, if only they can have the right tools, the technique!
Historically, that was the aim of his movement "Theatrical October" (named after the Great October (Bolshevick) Revolution). The Method Acting requires an education; knowledge of dramatic literature, which was "class" property. Meyerhold (and Eisenstein) wanted to get an average man from the street and put him in front of the camera or on stage. Can we provide this uneducated non-actor with the simple and fast system? Physical (non-psychological) aspect of life is known to all -- even to children! What if we look at stagecraft from this perspective?/tt>
Physical Theatre
Body BreakDown [ more in Body Page ]
Head
Closeup (CU). The Extreme CU (XCU) is very difficult to acheive, but this is the highest dramatic point for the actor. Not only it is motionless moment, but it is also the silent moment, known as "dramatic pauses"!
Head & Shoulders
Unlike in film, it's almost impossible to "cut" from LS to CU, you have to "zoom" from one "shot" to another; you have to go through MS to get to the CU.
Chest & Up
Tight Medium Shot (MS). Most of soap acting is done within MS.
Belt
Classical Medium Shot
Knee Level to Top
Sometimes it's called MLS (Medium Long Shot)
Floor to the Top
We consider it as a tight Long shot (LS) or Wide Shot (WS)[ Exit/Entrance Choices - exrc. in class ]
See Breakdown in Acting Directory @ Theatre w/Anatoly
More on the subject @ Virtual Theatre pages; the zone between Theatre and Film.
BM is Physical Theatre!Meyerhold wanted his actors to be athletes. He had a circus as model!
Actor's body must work. Body Acts! For updates -- Body Page. Now, take a look at the text of your monologue. I advise your to visualize the basic breakdown (framing) of your body as a cameraman does.There are simple ways to focus public's attention with director applies: I can ask designers to do it. The face can be permanently framed with the costume or hat, or wig. I can ask for light or even simply move the actor to the window, which will frame the action. Do you want to have MLG? Place his in the door-frame! Or get him into arm-chair.... You got the idea?
"Mechanical" has negative connotations, of course, and this is wrong. "Mechanical" means repeatable, means that we can do it time and again, every time, regardless. The idea of bio-mechanical is a contradiction in itself. "Bio" (life) is something that is always new, non-repeatable at all! And this is the trick; you train yourself to the point when you can do it, no matter what, and -- then on the top of it you add inspiration and improvisation of the live theatre.
The body has to learn it through repetitions; the musicians and the athletes do it. The body has to remember it, not you. We call it -- skills. We call it physical memory: you remembers how to ride a bike, how to swim, how to walk -- you do not have to "remember" it. Biomechanics are supposed to FREE your for acting!
The same with the blocking and costumes, with lines and light. The limitations are good for you!
Get it mechanical for the sake of the "bio" -- the part which will be new every night.
Try.
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[ Mini-Test online. ]
* March 2006: Go.dot -- 100 years since Sam Beckett's birth *
Use the samples: Monologues and see more in the SHOWS directory. Stay with the COMEDY!
Read the next chapter before class! Post the question to the List after the class.
Keep up your journals!
2004 project -- looks like I have to spend a lot time before the yoga warmups can be incorporated. Descriptions, functions, order. It took 90 min to introduce it in class (workshop). I can't spend more than ten minutes of class time for warmups; a must before presentations.
Triangle
Wind
Tree II
I am old and now I appreciate my body, because it about to leave me. We taught that the soul leaves the body. Nonsense! Read Beckett. Body gets tired serving them -- spirit, mind, will and etc.
We need physical theatre to stop the madness of sport. We are doing The Taming of the Shrew -- and I see actors sweat. They thought "Shakespeare"; they didn't know that Commedia is better than this "total gim"! "Get physical!" -- is it about sex? What do I know?
I do not know when I get back to this page "Get Physical" -- maybe when I do not teach and direct anymore...
An online course supplement *
2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
Film-North * Anatoly Antohin * eCitations *
Acting amazon
