Theatre - Notes on Acting PDF

Preview

Summary

Notes on Acting ...

Description

● Acting ●

An actor creates the embodiment of the playwrights intention. They work on drama that is a simulation of real life and don’t have the usual inner monologue text you can read in books.

Mythbusting ● ● ● ●

Actors do – collaborate and enjoy the give and take of performance and working with a director Actors do - believe in their character and allow feelings to bubble up and become visible to the audience. Actors – make sure that they embody the character so that the lines come out naturally. Every actor’s take on a character’s lines will be different. Saying a line a certain way is called a “line reading” Actors – as a part of performing may make certain faces.

When looking at an actor in a review context, they are not choosing a “line reading” or I will make this expression here. They make choices of how to embody a character and you are seeing the result of those choices. The actor is their own instrument. There is the body and the voice Can by limited by physical characteristics that would make an actor feel “not right” for a part. Fatigue in body and voice can be detrimental to an actor’s work. Usually intermission or long pauses between scenes is the only break. Many get chosen for how their voice sounds. Especially true in voice-over/animation because that is your entire instrument. The book chooses “psychic limitations” as the intellectual and emotional needs of the character are too advanced for the actor. This is true for young actors. They also carry themselves differently being younger. Konstantin Stanislavski (1863-1938) Acting system: Directed in Russia and wanted to train actors and codified a system of thinking about a character and performing a role that could be repeated show after show. This started mostly through his observations of other great actors. Communicate the inner life of the character. System to help create better actors – encourage them to improve body and mind.

● The Stanislavski system ● ● ●

●

was based in Freud psychology as well. The idea that understanding the psychology of the character you can reach the emotions and realism needed to portray the character. They actors asked Who, What, and why questions about the character. Also they analyzed obstacles to why they want something and how to achieve that goal. He encouraged an actor use “magic if” and say what would I do in this situation. If anyone has played a role-playing game or rehearsed for a job interview it is mainly the same situation. An Actor Prepares, Building A Character, Creating a Role, an actor’s handbook.

● After Stanislavski ●

Other systems are created and adapted from this.

● ●

Method – Lee Strasberg’s system. Actor should use their own experiences to understand the role and identify with the character. Bertolt Brecht, Stella Adler, Sanford Meisner, Michael Chekhov, and David Mamet / William H Macy all created their own systems to adjust actor training.

● Imagination ●

They have to imagine how the character would behave in different circumstances. Many times this might be out of the scope of their experience.

● Accessible emotions ●

● ● ● ●

Many characters go through a range of emotions in a show and partially living through these emotions create more realism in a performance. Actors always have to be careful not to allow some of the emotions to damage them during dark and heavy shows.

Expressive body and voice Physical and mental stamina Bravery and self-confidence Flexibility / improvisational spirit ●

Humans aren’t robots and accidents happen. Sometimes you have to be able to stay in character when a prop breaks, a hat rolls in the audience, or a line is skipped.

● Love of craft ● Voice ● ● ●

Relaxed vocal cords, Breath Control, Resonance, Articulation, Placement Keeping all in mind can allow an actor to be heard clearly to an audience. Many take speaking and singing classes.

● Body ● ●

The body should be relaxed, flexible, strong, agile, and have balance. This can be attained through working out, yoga, pilates, playing light sports and walking.

● Actors stretch and warm up body and voice before every performance. There are an innumerable amount of ways an person can do these activities. ● Many in the industry that have found paid roles still go to acting classes to try to become more proficient in their work. Continuing education occurs in every field. ● Analysis ●

Read the script and see how the character fits in. How do they relate to others? How and why are the choices made?

● Apply ●

Through the script, usually an actor marks where there are discoveries for the character, obstacles, and goals through their arc in the play. They look at relationships, conflict, humor, emotional poles, discoveries, communication, importance, events, and secrets.

● Retain ●

The actor then finds ways to reach each discovery and overcome the obstacles they chose through each show.

● Actors make all of these decisions as they work through the rehearsal process. Some start with internal and some start with external characteristics to begin developing a character. ● Some find that in rehearsal an early choice or tactic to achieve a goal doesn’t work and they have to change it for that part of the script. ● They ultimately repeat everything and try to make parts of it fresh to not be bored with the performance themselves.

● ● ● ● ● ● ● ● ● ●

Look at relationships Look at conflicts Try to understand the moment before Was there humor? – this might be hard to tell if it’s directing or acting choices Was there emotional variation? Were the characters discovering as they went along? Was there listening and responding to the other in the scene? Did the actors seem to know what was important in the scene? Were their choices helping follow events? Were they using the physical space where it made sense for the scene?

● All of these can be questions to help analyze the actors performance. It can be used to discuss an arc of the show. Perhaps by following a protagonist from beginning to end....