Acting for television


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Acting for TV

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Acting for television

  1. 1. Acting for Television<br />Module 5A (Realism)<br />
  2. 2. Television Acting VS Theater Acting<br />Brainstorm the difference between television acting and theater acting<br />“Lyts, Camera, ACTING!”<br />Choose a scene from a favorite drama and show how it was presented on television. Afterwards, the scene will be redone in theater style.<br />Comment on the acting styles adapted by each group.<br />
  3. 3. Television Acting VS Theater Acting<br />Performed in front of cameras<br />Performed in a theater, in front of a live audience<br />Aim is to make acting lifelike (smaller)<br />Very little movements<br />Aim is to portray a role larger than life<br />No room for mistakes<br />The camera and the director do much of the work<br />Jobs different from those in theater<br />The director is the boss<br />No need for long rehearsals to develop the roles<br />Rehearsals give the actors a chance to develop their roles<br />
  4. 4. Television Acting VS Theater Acting<br />Making a TV drama is more complex<br />The producer is the boss<br />Scene shots are not in proper order<br />Performance done from first scene to the last<br />Acting may only take a few minutes<br />The rest of the time spent waiting for crew to setup the shot<br />A good director can make a terrible actor look brilliant. A bad director can make a brilliant actor look terrible.<br />
  5. 5. Constantine Stanislavski<br />1863 - 1938<br />
  6. 6. Realism<br />Acting book incomplete without mentioning Constantine Stanislavski<br />Born in Moscow January 17 , 1863 as Constantine Alexeiev<br />Stanislavski is a stage name from a Polish actor<br />Formed the Moscow Art Theater (MAT) – most important 20th Century Theater “Russian Revolution”<br />Before him acting was rhetoric, stiff and dcelamatory<br />Age of Realism: birth of truth in acting<br />Naturalism<br />
  7. 7. Realism: A style of Acting<br />Focus was the actor’s inner life<br />Realism was the way to act. – Stanislavski<br />“Method” actors: James Dean, Marlon Brando, Dustin Hoffman, Johnny Delgado, Christopher de Leon, Gina Alajar, Nora Aunor<br />Reputation of Realism Actors: being “inwardly” concerned that they have lost sight of the external importance of the craft.<br />Other actors rebelled against Realism – creating a generation of self indulgent actors who couldn’t do other styles<br />
  8. 8. Realism: A style of Acting<br />Realism – acting which looks for truth and believability.<br />Focus: own character’s “inner life”<br />Awareness of objectives, motivations – hidden objectives – of character.<br />External & Psychological stimuli<br />Actors seem they are the characters they play.<br />Events seem real; time is real<br />Rebelled against external, declamatory theatric<br />Called “system” not “method”<br />Many styles sprung from the system.<br />
  9. 9.
  10. 10. Stanislavski believes that:<br />Movement and thought cannot be separated.<br />The system is not a guarantee to make great actors.<br />Acting cannot be taught.<br />The system is a means (process), not an end.<br />The system prepares an actor for the elusive gift – Inspiration!!<br />
  11. 11. Methods of Realistic Acting / Specific Manifestations:<br />1. Relaxation<br />An actor’s greatest enemy is tension<br />First step to acting is to RELAX<br />Does not mean lifeless, dull, lazy energy<br />Meant to be the heightened readiness an actor has to spring into action<br />Acting becomes tiring, wooden and predictable when tense.<br />Relaxation allows actors to release their movements, thoughts, emotions FREELY & ORGANICALLY.<br />
  12. 12. Relaxation Exercises<br />
  13. 13. 2. Relating<br />“Live the part.” – Stanislavski<br />“Be alive in the part”<br />Relate to real, given & imaginary circumstances<br />
  14. 14. Real Circumstances<br />Everything in the physical world of the actor<br />Costumes, sets, sounds<br />The five senses<br />
  15. 15. Given Circumstances<br />Given by the playwright to actor<br />These are the who, what, when, where of the paywright<br />Actor has the ability to believe in this reality.<br />
  16. 16. Imaginary Circumstances<br />Believing in all imaginary aspects of the play and allows them to affect his actions through imagination<br />
  17. 17. Relating Exercises<br />Travelogue<br />
  18. 18. Imagination exercise<br />
  19. 19. 3. Action<br />An actor must always be doing something with a purpose.<br />“Acting is doing & doing with a purpose” – Stanislavski<br />Your objective should lead to some action to play.<br />
  20. 20. Doing Something with a clear purpose<br />
  21. 21. 4. Objective<br />Give actor’s action some purpose / scene-by-scene<br />“object of desire”<br />
  22. 22. Clarify your objectives<br />Actor stands<br />
  23. 23. 5. Super-objective<br />An over-all object of desire – throughout the play<br />Like the theme or main idea<br />Ex. Hamlet’s SO is to avenge his father’s death<br />
  24. 24. 6. Subtext<br />What is going on underneath the words<br />The hidden meaning behind what the character is saying.<br />
  25. 25. Subtext exercises<br />
  26. 26. 7. Concentration<br />Embarrassment, awkwardness & self-conscious surfaces when an actor lacks concentration.<br />
  27. 27. Concentration Exercises<br />Actor closes eyes – focus on one sound<br />I read you tell a story<br />Distractions<br />I talk, you talk<br />Public solitude<br />