Your SlideShare is downloading. ×
Chapter five acting for the stage power point
Upcoming SlideShare
Loading in...5
×

Thanks for flagging this SlideShare!

Oops! An error has occurred.

×

Introducing the official SlideShare app

Stunning, full-screen experience for iPhone and Android

Text the download link to your phone

Standard text messaging rates apply

Chapter five acting for the stage power point

237
views

Published on


0 Comments
1 Like
Statistics
Notes
  • Be the first to comment

No Downloads
Views
Total Views
237
On Slideshare
0
From Embeds
0
Number of Embeds
0
Actions
Shares
0
Downloads
25
Comments
0
Likes
1
Embeds 0
No embeds

Report content
Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
No notes for slide

Transcript

  • 1. Chapter 5
  • 2. 1. Making characters believable2. Physical acting—the use of the voiceand body3. Synthesis and integration: combininginner and outer skills2© 2013 The McGraw-Hill Companies, Inc. All Rights Reserved.
  • 3. 3© 2013 The McGraw-Hill Companies, Inc. All Rights Reserved.
  • 4.  Making Characters Believable The Development of Realistic Acting▪ The Stanislavski System: A Technique forRealistic Acting▪ Relaxation▪ Concentration and observation▪ Importance of specifics▪ Inner truth▪ Action onstage: What? Why? How?▪ Through line of a role▪ Ensemble playing4© 2013 The McGraw-Hill Companies, Inc. All Rights Reserved.
  • 5.  Making Characters Believable continued The Development of Realistic Acting▪ Stanislavski and Psychophysical Action▪ Purposeful action undertaken to fulfill a character’s goalswas the most direct route to the emotions5© 2013 The McGraw-Hill Companies, Inc. All Rights Reserved.
  • 6.  Making Characters Believable continued Modern Approaches to Realistic Acting▪ Lee Strasberg, founder of the Actors Studio in NYC▪ Emphasized a technique called emotional recall A tool intended to help performers achieve a sense ofemotional truth▪ Stella Adler, Sanford Meisner, and Uta Hagen▪ Balanced the emphasis on inner resources with the inclusionof given circumstances and purposeful action6© 2013 The McGraw-Hill Companies, Inc. All Rights Reserved.
  • 7.  Making Characters Believable continued Modern Approaches to Realistic Acting▪ Uta Hagen▪ Respect for Acting▪ Emphasis on emotional recall and memory▪ Robert Cohen▪ Acting One▪ Emphasis on the use of text as an instrument of action7© 2013 The McGraw-Hill Companies, Inc. All Rights Reserved.
  • 8.  Making Characters Believable continued Modern Approaches to Realistic Acting▪ Robert Benedetti▪ The Actor at Work▪ Emphasis on the actor’s body and how performers can use itto help shape character8© 2013 The McGraw-Hill Companies, Inc. All Rights Reserved.
  • 9.  Physical Acting: Voice and Body The Actor’s Instrument: Voice and Body▪ Theatre makes strong demands on a performer’sbody9© 2013 The McGraw-Hill Companies, Inc. All Rights Reserved.
  • 10.  Physical Acting: Voice and Body continued The Actor’s Instrument: Voice and Body▪ The performer’s voice▪ Key lines must be clearly heard by the audience▪ A performer must project his or her voice▪ Maintain a balance between credibility and the necessity ofbeing heard10© 2013 The McGraw-Hill Companies, Inc. All Rights Reserved.
  • 11.  Physical Acting: Voice and Body continued Training for Special Forms of Theatre▪ Certain types of theatre require special disciplineor training▪ Musical▪ Pantomime▪ Avant-gardeand experimental11© 2013 The McGraw-Hill Companies, Inc. All Rights Reserved.
  • 12.  Synthesis and Integration Goal of training is to create for the performeran instrument that is flexible, resourceful, anddisciplined12© 2013 The McGraw-Hill Companies, Inc. All Rights Reserved.
  • 13.  Judging Performances Has the performer mastered the techniques?▪ Movements; vocal projection▪ Response to other performers and audience13© 2013 The McGraw-Hill Companies, Inc. All Rights Reserved.