Date post: | 22-Jan-2018 |
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Module 5A (Realism)
1. Brainstorm the difference between
television acting and theater acting
2. “Lyts, Camera, ACTING!”
• Choose a scene from a favorite drama
and show how it was presented on
television. Afterwards, the scene will be
redone in theater style.
• Comment on the acting styles adapted
by each group.
• Performed in front of cameras• Performed in a theater, in front of a live audience
• Aim is to make acting lifelike (smaller)
• Very little movements• Aim is to portray a role larger than life
• No room for mistakes
• The camera and the director do much of the
work
• Jobs different from those in theater• The director is the boss
• No need for long rehearsals to develop the roles• Rehearsals give the actors a chance to develop their roles
• Making a TV drama is more complex
• The producer is the boss
• Scene shots are not in proper order• Performance done from first scene to the last
• Acting may only take a few minutes
• The rest of the time spent waiting for crew to
setup the shot
• A good director can make a terrible actor look
brilliant. A bad director can make a brilliant actor
look terrible.
Constantine
Stanislavski
1863 - 1938
• Acting book incomplete without mentioning
Constantine Stanislavski
• Born in Moscow January 17 , 1863 as
Constantine Alexeiev
• Stanislavski is a stage name from a Polish actor
• Formed the Moscow Art Theater (MAT) – most
important 20th Century Theater “Russian
Revolution”
• Before him acting was rhetoric, stiff and
dcelamatory
• Age of Realism: birth of truth in acting
• Naturalism
• Focus was the actor’s inner life
• Realism was the way to act. – Stanislavski
• “Method” actors: James Dean, Marlon Brando,
Dustin Hoffman, Johnny Delgado, Christopher de
Leon, Gina Alajar, Nora Aunor
• Reputation of Realism Actors: being “inwardly”
concerned that they have lost sight of the
external importance of the craft.
• Other actors rebelled against Realism – creating
a generation of self indulgent actors who couldn’t
do other styles
• Realism – acting which looks for truth and
believability.
• Focus: own character’s “inner life”
• Awareness of objectives, motivations – hidden
objectives – of character.
• External & Psychological stimuli
• Actors seem they are the characters they play.
• Events seem real; time is real
• Rebelled against external, declamatory theatric
• Called “system” not “method”
• Many styles sprung from the system.
• Movement and thought cannot be
separated.
• The system is not a guarantee to make
great actors.
• Acting cannot be taught.
• The system is a means (process), not an
end.
• The system prepares an actor for the
elusive gift – Inspiration!!
1. Relaxation
• An actor’s greatest enemy is tension
• First step to acting is to RELAX
• Does not mean lifeless, dull, lazy energy
• Meant to be the heightened readiness an actor
has to spring into action
• Acting becomes tiring, wooden and predictable
when tense.
• Relaxation allows actors to release their
movements, thoughts, emotions FREELY &
ORGANICALLY.
“Live the part.” –
Stanislavski
“Be alive in the part”
Relate to real, given &
imaginary circumstances
• Everything in the physical world of the
actor
• Costumes, sets, sounds
• The five senses
• Given by the playwright to actor
• These are the who, what, when, where of the paywright
• Actor has the ability to believe in this reality.
• Believing in all imaginary aspects of the play and allows
them to affect his actions through imagination
• Travelogue
Imagination exercise
• An actor must always be doing something with a
purpose.
• “Acting is doing & doing with a purpose” – Stanislavski
• Your objective should lead to some action to play.
• Give actor’s action some purpose / scene-by-scene
• “object of desire”
• Actor stands
• An over-all object of desire – throughout the play
• Like the theme or main idea
Ex. Hamlet’s SO is to avenge his father’s death
• What is going on underneath the words
• The hidden meaning behind what the character is saying.
• Embarrassment, awkwardness & self-conscious surfaces
when an actor lacks concentration.
• Actor closes eyes – focus on one sound
• I read you tell a story
• Distractions
• I talk, you talk
• Public solitude