Fundamentals of acting

1. Sunday, January 15, 2023
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Tewodros Yideg
Tewodros Yideg
Lecturer,
cinema and Theatre Arts, BDU

2. Acting styles
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Tewodros Yideg
1. The Style of Involvement (“The method”)
 strives for a presentation of character’s emotions so that
the illusion of 'truthfulness' or 'reality' is created
 the actor himself must not be visible in the portrayal of the
character.
 identified with 'unity of role and acting’
 the emotions portrayed on stage must seem as 'real' as
possible.
 achieved by the presence of similar feelings in the actor
ELLY A. KONIJN (1997)
Acting Emotions
(Stanislavsky & Lee Strasberg)

3. Acting styles
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Tewodros Yideg
1. The Style of Involvement (“The method”)
 He transcends his own will and lives the part,
 without noticing how he feels himself,
 without thinking about what he is doing,
 everything happens as a matter of course,
unconsciously and intuitively
 'The actor's task is to create that level of belief on stage,
 so that the actor is capable of experiencing the imaginary
events and objects of the play with the full complement of
those automatic physiological responses which
accompany a real experience' (Strasberg 1988).
ELLY A. KONIJN (1997)
Acting Emotions

4. Acting styles
Sunday, January 15, 2023 4
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Tewodros Yideg
1. The Style of Involvement (“The method”)
 'The method' is considered to go further in demanding the
immersion of the actor into the emotions of the character.
 By feeding the character with the actor's personal
emotions, the style of involvement believes the
performance will become more believable
 In the style of involvement the emphasis is seemingly
placed on the private emotions of the actor, but the
emphasis is placed on the character-emotions.
 The actor's private emotions are in the service of the
character.
ELLY A. KONIJN (1997)
Acting Emotions

5. Acting styles
Sunday, January 15, 2023 5
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Tewodros Yideg
1. The Style of Involvement (“The method”)
 The private emotions of the actor are used to shape the
inner model, forming the basis for the character in the
performance.
 Shaping the inner model must meet the criteria of
'truthfulness', emotions must be recognizable as they
appear in daily life.
 Therefore the actor fills the model with his own emotional
memories and experiences.
ELLY A. KONIJN (1997)
Acting Emotions

6. Acting styles
Sunday, January 15, 2023 6
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Tewodros Yideg
2. The Style of Detachment
 The style of detachment rejects the principle of
identification of the actor with the character during
performance.
 The emotions of characters are 'shown' or 'demonstrated'
in a reproducible form, referring to emotions as they occur
in reality, but not identical to them.
ELLY A. KONIJN (1997)
Acting Emotions
Brtolt Brecht

7. Acting styles
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Tewodros Yideg
2. The Style of Detachment
 The task of the actor is to focus the audience's attention on
the socio-political aspects of the situation by presenting
 the socialized interaction of people,
 the (social) positions of the characters and
 The political-economic interests which are at
stake.
 This does not demand the emotional involvement of the
actors with their characters.
ELLY A. KONIJN (1997)
Acting Emotions

8. Acting styles
Sunday, January 15, 2023 8
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Tewodros Yideg
2. The Style of Detachment
 Repeatability is guaranteed in the style of detachment by
placing emphasis on technical mastery over the portrayal
of emotions, situations, and motives.
 This style of acting is therefore sometimes referred to as
'calculated‘
 this style does not aim for emotional identification with
the characters, neither from the actor nor from the
audience.
ELLY A. KONIJN (1997)
Acting Emotions

9. Acting styles
Sunday, January 15, 2023 9
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Tewodros Yideg
2. The Style of Detachment
 Repeatability is guaranteed in the style of detachment by
placing emphasis on technical mastery over the portrayal
of emotions, situations, and motives.
 This style of acting is therefore sometimes referred to as
'calculated‘
 this style does not aim for emotional identification with
the characters, neither from the actor nor from the
audience.
ELLY A. KONIJN (1997)
Acting Emotions