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Acting for television


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Acting for TV

Acting for TV

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  • 1. Acting for Television
    Module 5A (Realism)
  • 2. Television Acting VS Theater Acting
    Brainstorm the difference between television acting and theater acting
    “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.
  • 3. Television Acting VS Theater Acting
    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
  • 4. Television Acting VS Theater Acting
    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.
  • 5. Constantine Stanislavski
    1863 - 1938
  • 6. Realism
    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
  • 7. Realism: A style of Acting
    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
  • 8. Realism: A style of Acting
    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.
  • 9.
  • 10. Stanislavski believes that:
    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!!
  • 11. Methods of Realistic Acting / Specific Manifestations:
    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.
  • 12. Relaxation Exercises
  • 13. 2. Relating
    “Live the part.” – Stanislavski
    “Be alive in the part”
    Relate to real, given & imaginary circumstances
  • 14. Real Circumstances
    Everything in the physical world of the actor
    Costumes, sets, sounds
    The five senses
  • 15. Given Circumstances
    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.
  • 16. Imaginary Circumstances
    Believing in all imaginary aspects of the play and allows them to affect his actions through imagination
  • 17. Relating Exercises
  • 18. Imagination exercise
  • 19. 3. Action
    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.
  • 20. Doing Something with a clear purpose
  • 21. 4. Objective
    Give actor’s action some purpose / scene-by-scene
    “object of desire”
  • 22. Clarify your objectives
    Actor stands
  • 23. 5. Super-objective
    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
  • 24. 6. Subtext
    What is going on underneath the words
    The hidden meaning behind what the character is saying.
  • 25. Subtext exercises
  • 26. 7. Concentration
    Embarrassment, awkwardness & self-conscious surfaces when an actor lacks concentration.
  • 27. Concentration Exercises
    Actor closes eyes – focus on one sound
    I read you tell a story
    I talk, you talk
    Public solitude