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21 Cards in this Set
- Front
- Back
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Thespis (Greek) - The first actor whose name we know provides the root word for Thespian, or actor.
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(Greek) - The first actor whose name we know provides the root word for Thespian, or actor.
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External
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What the actor presents to the audience through Voice and Gesture.
Training such as: Dramatic Phrasing, Poetic Scansion, Vocal Production, Stage Movement |
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Internal
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How an actor “becomes” the character
The actor feels all of the emotions of the character. We call this METHOD ACTING. |
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Method Acting
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A theory about becoming a character derived from Constantin Stanislavski’s “System of Acting”, popularized by Lee Strasburg at the Actor’s Studio
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Socrates' view on Acting
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"It is that you are thus excellent in your praise [acting], not through science, but from divine inspiration." (Plato)
So, not through science (technical acting) is the actor good, but through his inspiration (internal) |
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What Ion has to say about acting...
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"When I recite of sorrow, my eyes fill with tears; and when of fearful or terrible deeds, my hair stands on end, and my heart beats fast."
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Roman Poet Horace
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"to make me grieve, be first your anguish shown, and i shall feel your sorrows like mine own" 18BCE
Become your character- INTERNAL |
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French Enlightenment Author Denis Diderot rejects what?
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the theory of internal acting
"he is best when he imitates anger... not when they are furious" it is all about the imitation of life- EXTERNAL |
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Danchenko
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founded the Moscow Art Theatre as a company dedicated to promote and perform "naturalistic" theatre- that stresses the INTERNAL notion of acting.
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Stanislavski's “System of Acting” commands the actor to first find the character’s ZADACHA
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zadacha: “objective” or “goal” but actually Russian for “task, exercise; problem”
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Subtext
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"In the writings of the great poets even the simplest acts are surrounded by important attendant conditions and in them lie hidden all manner of baits to excite our feelings." (Stanislavski 163)
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Emotional Recall
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An actor recalls how they felt at points during their own life (such as the moment they fell in love or the day their dog died) and then substitute those emotional feelings for what the character needs to feel in the play.
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Virtuosity
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“great technical skill in the practice of the fine arts”
Two things that any actor needs are superior control of their voice and of their body. |
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Presence
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“A quality of poise and effectiveness and ease of performance that enables a performer to achieve a close and sympathetic relationship with his audience”
the ability to hold us, as an audience, transfixed to the actions of a character. |
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French word for “rehearsal”
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“Répétition”
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The Physiological Instrument
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Voice and speech are the first parts of the body to look at, they are not the same thing. Movement is the second.
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Voice
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breathing / phonation ("The act or process of producing speech sounds”) / resonance.
Speech: articulation / pronunciation / phrasing Voice and Speech combine into Projection |
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Movement
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it is the control of one’s body
We use dance, mime, movement, and combat classes to achieve better knowledge of movement. You need to learn how your body works and moves before you can begin to refine it. |
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Discipline
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“the disciplined actor is simply one who works rigorously to develop; his or her physiological and psychological instrument, who meets all technical obligations unerringly and without reminder, and who works to the utmost to ensure the success of the entire production and the fruitful association of the whole acting ensemble.” (Cohen 90)
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Mind, Body, and Methods:
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The internal acting of the mind with the external acting of the body, that's a recipe for successful acting.
Stanislavski says: "If you take all of these internal processes, and adapt them to the spiritual and physical life of the person that you are representing, we call that living the part. This is of supreme significance in creative work." |
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Blocking and Business
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the actor's movements on the stage
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