Greek Act 5 Scene 1 Summary

Greek Act 5 Scene 1 Summary
In my troupe we choose to do Act 5 Scene 1; where Fabian, Feste, and Orsino all speak from lines
1–20. As my part I played Feste, the clown. During this portion of the play Feste had just received
the letter from Malvolio and Fabian wants to see it. Feste refuses to let Fabian see the letter and then
Orsino distracts them both by asking about Olivia. To act out the scene my partners and I were all
spread out on the stage. I as Feste was positioned stage left and Fabian was stage right while Orsino
was off the stage. As Fabian begins to speak he started to move stage left which caused Feste to
come closer. When Feste realized Fabian wanted to take the letter, Feste protected the letter in his
hands and continued talking when Orsino came. Feste ... Show more content on Helpwriting.net ...
In the few different times we went through this scene I used those two goals in order to play Feste.
Instead of just having a conversation with Fabian, my goal was to keep the letter as close to my
body as possible while doing so. While talking to Orsino I tried my best to keep Fabian from getting
too close to me which in part was with the help of Orsino. I would not have been able to truly
demonstrate this goal had it not been for my Troupe working together. One of the key things that An
Actor Prepares notes on is that, "the basic purpose of the play will be like a major artery". The idea
that the objective is vital to us being able to perform the scene and without it we will not thrive as
actors. Thus in having the objective and working together to demonstrate that objective my Troupe
was able to perform the
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The Next Rembrandt Summary
Data is beginning of creativity in this case. In case of Anthem, data is beginning as well as an end
result. Data is used to share business insights using CIE
Data is the new money and this case exemplifies that. One can re–create past and innovate using the
data. So, Anthem should use the client data to prepare new models; may be with a intention to
regain lost customers for a client as part of WinBack campaign
"The Next Rembrandt" was created to highlight ING's dedication to innovation and its sponsorship
of classic art. Most of the data at Anthem is used for business life. It can be leveraged to create a
campaign that touches human soul
Deep learning algorithms were used here. Anthem mostly works with statistical analysis and
predictive

Models Headshots Research Paper
Advice for actors and models headshots For any actor or model, the headshot is their true calling
card and helps the director decide whether they should cast you or not. Hence, when you decide to
invest in getting a headshot, you have to put your best foot forward. It should get your best
personality out and leave a lasting impression. And if you are planning to be an actor, the shot has to
be emotive enough to get the call from any director. Certainly, you will approach a professional for
your actors and models headshots. But you will have to prepare yourself as well to get the best shot.
Staying Hydrated: It is important that you look well always but when you have a shoot planned, it is
best to stay hydrated. This is not just for the click, but must be a routine. The model headshots look
attractive when your skin is radiant and water is the best source to keep it glowing. Rest Well: It ...
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If you are applying for a film role then you will need a headshot in natural lighting. The studio
lighting is appropriate for a multi–camera sitcom. Give the photographer a complete idea of the
purpose of the headshot, the role you are auditioning for etc. These elements work in totality to give
you a perfect headshot. Be professional on the day of your shoot. Arrive on time or 10 minutes
before the shoot. If you are hiring a makeup artist, make sure everything is arranged on time so that
there are no delays. Imagine as if the camera is your partner and emote as much as possible. To be
on the safer side always get 2 or more headshots. You got a list of to–do items. Now let's see what
not to do.. When it comes to posing, experts suggest:– Don't have your hands by your face or raise
your shoulders. Don't turn your face too far to either side. Don't lean forward too far, as you'll lose
the length of the neck. However, if you have an excessively long neck, this could reduce

To What Extent Is Stanislavski's System Relevant In Modern...
Introduction
Constantin Stanislavski is one of the pioneers of modern acting. His techniques, when introduced in
the 1900s, were revolutionary. He combined psychology and acting in order to produce actors who
cared about their work and were consistent. Prior to the 20th century, actors were seen as
inconsistent by many, including Stanislavski. Some nights, their performance would be absolutely
incredible, while others were not believable or enjoyable. In addition to this, prior to Stanislavski's
time, actors in a show did not even rehearse together, they just worked on their own until opening
night. With his "system," Stanislavski had the goal of creating and portraying truth and realism
within his performances, something that would influence ... Show more content on Helpwriting.net
...
When Stanislavski was in class with the Director Tortsov, as chronicled in his book An Actor
Prepares, there is an exercise he writes about in which Tortsov called each person up to the stage,
and once there they were instructed to go up and sit. Then, they were told what would happen: "The
curtain goes up, and you are sitting on the stage. You are alone. You sit and sit...At last the curtain
comes down again. This is the whole play" (An Actor Prepares, 33). Stanislavski chronicles in this
book the moments during and after this performance. During the performance, he feels full of "self–
contradictory impulses" (An Actor Prepares, 34). This is because each movement he makes, whether
it be bending his arm or moving a leg, changes everything, adding "something superfluous" to the
scene (An Actor Prepares, 34). After completing his performance, Stanislavski begins to think about
those feelings, and he realizes something that becomes a major part of the physical side of his
system: each and every movement means something, and everything that happens on the stage must
be for a purpose. In his Actor's Handbook, Stanislavski states a rule for physical motion onstage:
"On the stage it is necessary to act, either outwardly or inwardly. Everything that happens on the
stage has a definite purpose...All action in theatre must have an inner justification, be logical,

Compare And Contrast Hong Kong And America
In this essay , I will choose America be the another country to compare / contrast Hong Kong. In the
following parts, I would like to compare/contrast Hong Kong's and America's childhood, food
culture and Film/Movies.
First and foremost, Hong Kong's childhood is extremely different with America. In Hong Kong,
children are quite pitiful. According to The United Nations Children's Fund (UNICF) pointed out,
children in each day at least have one hour to play, but in fact this is an impossible thing in Hong
Kong because of the Territory–wide System Assessment (TSA). Carried out in 2004, the TSA is
compulsory for primary 3, primary 6 and Secondary 3 students. In recent years, the TSA exam drills
begins as early as P1. Some schools request student to buy more than 20 TSA practice books to
practice and attend supplementary drills during the lunchtime, after school and even on holidays.
Just think about it, your children had spent all the time to practice the TSA after they go back home,
they still need to do their homework and revision so how can they have time to play? ... Show more
content on Helpwriting.net ...
First, most of the Hong Kong's children did not have a happy childhood and most of the America's
children have a happy childhood. Second, Hong Kong and America have the same food culture that
is fast food culture. The reason why the fast food culture is popular in Hong Kong and America is
because Hong Kong and America have a quick pace of life, also the fast food advertisement
promises that people did not need to wait for a long time. The most important thing is the fast food
is cheap than western restaurant and the fast food is suit children's taste, so fast food culture is more
popular in this two place. Third, America's film category is more than Hong Kong's film category,
but both of them have famous actors, but Hong Kong's well–known actors is less than

Process Essay: The Mindet Of An Actor
The mindset of an actor.
Have you ever given much thought as to how an actor plays a role? From the moment they read a
script, can they envision themselves doing justice to the character they've been bestowed upon?
How does one fathom what it would be like to be someone else, acquire their traits, understand their
thoughts, live their life? These are some of the questions that popped into my head when I
auditioned for a play and ironically got the part, seeing as how I wasn't even supposed to be there
for the casting. You'd be surprised what life will throw your way, especially when you're not
looking.
Now this wasn't one of your sought after, high production budget plays. Hell, we didn't even know if
we had a director. The script was put together by an aspiring play write who was straight out of
college, desperate to make something of his life. I got the part and now, had no idea what do to with
it. The first thought that came to mind was to give up. Just give the part up to a person who knew
what they were doing. But that got me thinking, what exactly do actors do to prepare for a role? And
that's where my search begun. For the next week, I was determined to understand ... Show more
The accent in which they speak, the hand gestures they use and manner in which they laugh.
Interesting fact, Heath Ledger locked himself up in a hotel room in London to prepare for his role as
Joker in "The Dark Knight." He wrote in a diary as Joker and experimented with voices and laughs
until he developed the perfect inflection for the character. Some people think that playing the mad
character may have actually contributed to his death. Most actors will try to do the accent that their
character calls for. After all, it would have been weird seeing Meryl Streep play Margaret Thatcher
in an American accent. It is even harder if the character being portrayed is based on a true–to–life
person, as viewers can compare the accent and manner of

An Actor Prepares By Constantin Stanislavski
All I can do is to help you feel what it is. Even to do that requires great patience, for I shall devote
our whole course to it. Or, to be more exact, it will appear by itself after you have studied our whole
system of acting and after you yourselves have made the experiment of initiating, clarifying,
transforming, simple everyday human realities into crystals of artistic truth." Teacher Mr. Tortsov,
teaches his students the fundaments in acting and how to be successful in its art, in Constantin
Stanislavski's eye opening book, An Actor Prepares. Throughout reading his book, I learned three
main lessons: how the outside impression of an actor looks or how the audience perceives them, the
inner motivation and structure of an actor, and lastly, acting is an art and properly portraying a
character through the art form. ... Show more content on Helpwriting.net ...
An Actor Prepares teaches an actor that everything needs to be justified and motivated. Whether that
be through analyzing the text for overall theme, adaption to responses done by our scene partners or
ensemble, being natural with movements and not mechanical, or working out the overall objective
of the play. Analyzing the text of the play influences the character's motivation. If a character is
going over to another character's house for no reason other than to hang out, then it slows down the
pace of the show down and puts a stop in the energy of the show. Channeling the normal person
inside myself, provides a more relatable character to the audience member. The overall objective of
the show provides a reason or lesson for the whole play. The sooner I, as an actor, understand and
determine the objective, I can better play the character's motivation and drive to what she

Analysis Of Annie Baker 's ' The Aliens '
Accompanying documentation
Annie Baker is a Pulitzer prize–winning playwright whose works present a charming, quiet
affection for human interactions with The Aliens being a great example of those qualities. It is a
deceivingly easy seeming thing to take ordinary conversations and elevate them to being theatrically
relevant, but Annie Baker manages to do just that in her writing. The big question is how to convey
meaningful subtext with the silence that is written and woven into her plays. The Aliens is a simple
play about two misfits who spend their time behind a coffee shop and the young Evan who joins
them. The play is about alienation and not fitting in with society, but also, on a deeper level, about
the gulfs of solitude that exists between all human beings. As a death happens between acts, it
comes to remind the audience our own human endings and suddenly the very small things, like
pauses, can take on a very strong, haunting meaning. As much as there is space between society and
these three characters, there 're gulfs of it between the characters themselves. Again, Baker uses
rhythm and pauses as a way to show how we process one another by using the things we don't say.
How we use silence to gauge others intentions. A part of this is to give off a minimalist and real way
of speaking. We often hold pauses when we talk to each other – we think, we hesitate and we are
afraid. Another way to look at this idea is to think of the characters as aliens because they use a

Summary: The Thriving Theatre
The Mayor of Los Angeles has challenged students to create a model of a city or public place
comparable to a cell. He believes that basing the designs on a cell will help this place run smoother
because cells have worked so well in humans and other living organisms. Cells are made up of
organelles which each has a particular function in helping the cell thrive. Cities, schools and other
public places also have parts that have individual functions, although these parts only resemble a
cell when you dig deeper. My partner and I decided to create a model of a theatre called "The
Thriving Theatre" using this theory.
The cell membrane is the frame holding the cell together. It also allows nutrients to enter and waste
to vacate. In our theatre ... Show more content on Helpwriting.net ...
Our theatre also takes part in this process but to create a prodigious performance enjoyed by the
audience. In a cell the information to create the protein is the DNA which is stored in the nucleus
but in our theatre the DNA is the script which is stored in the director's office. The first step in
Central Dogma is to transcribe or copy this information to create RNA. In the theatre transcribing is
the act of memorizing the script and the RNA is the memorized actors copy. The second step is to
use the copied information to tell the amino acids or ingredients to go through the endoplasmic
reticulum and into the ribosome where the proteins are made. In the theatre the amino acids are the
actors who go through the aisles and onto the stage where the incredible performances enjoyed by
the audience are made. The final step is to have the proteins to the golgi apparatus to prepare to be
shipped off to other cells. In our model the audience which now have the performance in their
memory to go the lobby to prepare to leave.
The endoplasmic reticulum and golgi apparatus are paramount organelles in a cell. The endoplasmic
reticulum channels the flow of nutrients and products in the cell. In our theatre the endoplasmic
reticulum is an analogy to the aisles where the audience and actors go through to get to their
destination. In a cell the golgi apparatus' job is to prepare fat to be transported

Ochres Play Analysis
Ochres is performed by the Bangarra Dance Theatre, an Aboriginal & Torres Strait Islander
organisation and one of Australia's arts companies. This company is acknowledged internationally
for its powerful dancing, distinctive meanings through their use of theatre and unique soundscapes,
music and design. The performance 'Black' is a scene from their production Ochres. Ochre is
essential to the life of Aboriginal communities. It is an earth pigment that is used in the Aboriginal
culture. This performance has four parts to it – yellow, black, red and white – each colour of this
earthy substance, its myriad of purposes and the spiritual significance to Aboriginal people. 'Black'
represents an ash storm in this scene that has just blown over. ... Show more content on
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The actors have significantly changed roles to become kangaroos. The Audience were made to feel
uneasy with in the drama created in this scene. They can see a happy free mood and the movements
to symbolise a kangaroo and knowing that the hunters are close by and intent on killing. The mood
was created by their actions, by jumping and acting like kangaroos. The actions were very affective
and can easily be shown as a kangaroo. The roles and relationships evident in this piece are,
kangaroos and relationship of their characters were staying together jumping and scratching.
Symbol was shown by creating and animal like theme to create a dramatic meaning of what the
kangaroos do. The Kangaroos in this performance section swipe their hands in front of their faces is
if scratching their nose. The effectiveness of this action is to show that they are unaware of what is
out in the rest of the area, as the hunters are still out there. The kangaroos are doing what they
normally do not knowing the dangers that are close

The Given Circumstances and the Magic If in the...
The Given Circumstances and the Magic If in the Stanislavski System
One of the most fundamental principles of the Stanislavski system is that an actor must always
strive to achieve a sense of psychological and inner truth. They must have a clear understanding of
the internal thoughts and emotions of their character, so that they are able to think and act as the
character would to any given situation. He also believed that all action on stage should be done with
a purpose, and that an actor must be aware of the motivations of the character and their overall
objective with in a play, in order to make a performance as truthful and believable as possible: "All
action in theatre must have inner ... Show more content on Helpwriting.net ...
The given circumstances are all the specific details given to an actor to take into consideration as
he/she creates a role. They describe the situation in which the character exists in terms of specifics
and include a number of details. The actor must look at the facts, such as plot, setting/place (E.g.
Formal, informal, public etc), events that occur, and character details (E.g. personality and known
character traits). He/she must consider the time period or time of day in which the performance is
set, as well as show an understanding of the themes and issues raised by a scripted or devised
performance. It is also important that the actor has an awareness of the aesthetic/technical aspects of
the performance such as set, costume, lighting, makeup and sound. Whilst thinking about all of the
given circumstances of a role with in a performance, the actor must pose themselves a number of
questions, for example, where am I? Somewhere familiar? How does it feel? Am I hot or cold?
Comfortable or uncomfortable? What has just happened? How do I feel about what has just
happened? What do I expect to happen in the next few moments? Etc. By asking themselves
questions like this, the actor is able to gain awareness of all the circumstances

Strasberg Method Acting
Are you wondering what method acting is all about? Below are the basics of this acting method
developed by Lee Strasberg and practiced at the Actors Studio by actors like Marlon Brando and
Geraldine Page.
1) Relaxation
An important goal of this acting method is to get rid of the muscular tensions that keeps the actor's
instrument from being free. Lee Strasberg believed that actors who can relax their muscles reach a
higher state of concentration and responsiveness.
2) Sense Memory and Concentration
The actor develops concentration through sense memory exercises. As the name suggests, sense
memory is the use of the actor's senses to recall objects and experiences. A beginning method actor
will first explore a real object, like a cup of coffee, through all five senses, then put the object down
and try to recall the ... Show more content on Helpwriting.net ...
Exploring a place with all five senses.
Exploring a personal object with sentimental value.
Re–creating the experience of being in private ("the private moment exercise", a great one to deal
with stagefright).
Eventually, an advanced actor will combine several sense memory exercises at once. Not only do
sense memory exercises help method actors believe in the given circumstances of the scene they're
working on, but they give them great focus and concentration.
3) Emotional Memory
Method actors learn to use sense memory to recall emotional experiences from their past. Instead of
trying to remember or force an emotion, the actor tries to re–create with his senses the
circumstances surrounding the experience. For example, he would use sense memory to re–create
where he was at the time, what he smelled, the sounds he heard, etc. With practice, an accomplished
method actor can trigger the right emotion for his character within seconds by simply recalling a
single smell or sound.
4)

Stanislavsky Biography
An Actor (Writing a Research Paper on Stanislavsky) Prepares Cast your eyes towards Hollywood.
Notice the thousands of actors attempting to "make it" by bouncing from one audition to the next
with headshot and résumé in hand. The amount of desperate thespians is just as abundant if not
more in New York, Chicago, London, etc.. As economically aware citizens, they strive for the same
goals: work, money, a reason to quit that job at T.G.I. FRIDAY's. However, as artists, each strives
for truth. Before a man, known simply by theatre aficionados as "Stanislavsky", theatre was
somewhat of a spectacle. Somewhere between the eras of Shakespeare and Chekov, actors had lost
the ability to act truthfully. For Victorian actors, a hand turned up on the ... Show more content on
Helpwriting.net ...
It wasn't until age twenty–one when the young Konstantin adopted the name 'Stanislavsky' in order
to keep his theatrical career a secret from his bourgeois family (Merlin). At the time, professional
actors in Russia had the social status equivalent to that of a poor farmer. They had only recently
escaped serfdom and were freshly no longer the property of nobility (Benedetti). For a man of such
high birth, the idea of pursuing a career in theatre was inconceivable; however, the cultural interest
and love of theatrical entertainment of the Alekseyev family only fueled Stanislavsky's pursuits.
Sergei Vladimirovich Alekseyev, Stanislavsky's father, converted multiple buildings on his family's
estate into theatres, making the Alekseyev home Moscow's hub for cultural and artistic life
(Benedetti). Named The Alekseyev Circle, this family owned theatre is where Stanislavsky would
make his acting debut. In the September of 1877, a time which Stanislavsky himself refers to as "the
beginning of [his] Childhood and Adolescence" (Stanislavsky: MLIA), fourteen year old Konstantin
Alekseyev made his first journey to the stage. Stanislavsky thanks God in his autobiography for not
making him a natural talent for it was his initial struggle towards the craft that spurred his search for
the 'laws' of

Lope De Vega
In his New Art of Making Plays, Lope de Vega indirectly discusses the three disciplines within
pragmatic somaesthetics. First, regarding representational somaesthetics, he advised that when
women actors need to change into men clothes, they need enough time to do so as long as the story
is uninterrupted. Not only did women actors need time to change their physical appearances, but
also to get themselves time to mentally prepare themselves to play the men's roles. The mental
preparations are the elements of the experiential somaesthetics in which women must have the full
experience of being a man in order to perfectly play a role of a man. Finally, the performative
somaesthetics appears when Lope de Vega advised that when playing a character

Don Giovanni Performance
I watched Don Giovanni performed at Opernhaus Zurich. The thing that intrigued me the most was
how the performers communicated the setting and actions of the program while being confined to a
relatively small stage. The performance functioned similar to a High School play except for the fact
that the music was continuous. In other performances I've seen, the scenes alternate between
speaking parts with and without musical accompaniment. This opera, however, had no spoken parts
whatsoever; everything was sung. The actors used a variety of props to help immerse the audience
in the show. For example, the sword, dagger, and bloody rags in the first scene produced a greater
effect on the audience because they were able to see Giovanni stab

White Wash Should Be Banned
For the last two years, the Oscars have come under fire in the last two years with their lack of
nominations of people with color. The Oscars otherwise known as the Academy Awards is an award
show to highlight and give praise to the best movies and short films of the year, including in this
prestigious awards are the actors and actresses that star in these blockbusters and they are, as well as
their movies praised on the highest level for their craft. However what has become under scrutiny is
the so–called "White Wash" that has come across the ceremony. In the past two years, not a single
actor of color was nominated. This was highlighted in opening monolog of last year's host for the
Oscars Chris Rock who stated in his opening fifteen seconds of his speech "Well I am here at the
academy awards, otherwise known as the white people's choice awards" Now even though this was
a joke to bring up a controversial topic presented by the media at the time it still brought up the fact
and the idea lack of racial diversity. I believe that though there is no proof and hard evidence except
for ... Show more content on Helpwriting.net ...
"Strides also have to be made for female nominees. Once again, women were shut out of the best
director category and of the 10 nominated screenplays, "Hidden Figures" co–writer Allison
Schroeder was the only woman nominated. And after all these years, a woman has yet to be
nominated in the cinematography category." Through the years movies had primarily been directed
by male directors and many of the famous films and works of cinematography have been directed
and produced by men, so when a talented director that happens to be a women is being snubbed
from nomination that is going to be an area that I believe will be highlighted and touched upon in
the

Christian Theology Vs. Theatre
As a minister, worship leader, and actor, I've constantly had to balance these roles. Either in a
church environment or in a theatrical environment. Christian theology and theatre have never
intersected for me. I've always kept each role separate in its own category. I felt each role was
different enough that they would never cross over into each other's world. Or maybe, they have
crossed over and I just did not realize the connection. I never thought that the roles had any
similarities. After taking this class, I've learned differently. According to Johnson & Savidge, there
is a "symbiotic connection between theatre and Christianity; they are not just similar; rather they
share major commonalities at the core of their existence. ... Show more content on Helpwriting.net
...
As the psychiatrist encounter the boy's imaginary world, his own life is exposed as passionless and
frozen. The play then tells the story of a boy, who because of his repressed sexuality, his religious
mother and his hypocrite father, makes his own religion based on horses, the bible, and sex. The
psychiatrist, who is not able to imagine anything like that, who has lost his passion for his wife and
who walks around carrying an unfulfilled dream about passion, ends up envying the boy the ability
to create and believe in a religion." The beginning state of Equus opens with the two main
characters. First, there's Alan, a mentally disturbed 17–year–old young man who has had done a
horrible crime. Second, Dr. Dysart, Alan's psychiatrist, a complacent man who questions his
profession and his relationship with his wife. The end state of these characters closes the scene; Alan
getting the professional help he needs and Dr. Dysart was willing to take a look at pursuing his
dreams. There are several themes we can consider that the play depicts; such as freedom, growth
and development, God and religion. One of those themes I like to consider from the play is God and
religion. Although, this play does speak to the audience from the perspective of a theological
context. The audience may not initially see the play from that perspective. The story strongly points
to Alan, his relationship to Jesus Christ, to his

Comparing and Contrasting Brecht and Stanislavski Essays
Bertolt Brecht and Constantin Stanislavski are regarded as two of the most influential practitioners
of the twentieth century, both with strong opinions and ideas about the function of the theatre and
the actors within it. Both theories are considered useful and are used throughout the world as a
means to achieve a good piece of theatre. The fact that both are so well respected is probably the
only obvious similarity as their work is almost of complete opposites.
Stanislavski was born in 1863 to a wealthy family who loved amateur theatricals. In 1898 he met
Vladimir Nemirovich–Danchenko and they founded the Moscow Art Theatre. Stanislavski's work is
centred on the notion that acting should be a total lifelike expression of what is being ... Show more
Brechts work is based on the concept that theatre is a means of political persuasion for the masses.
He sees the theatre as a tool to manipulate the audience, and to influence their day–to–day living
once that have thought about issues raised during the performance.
Stanislavski was very sure of the role of his actors within the theatre. The actors are there to create a
real, emotional and truthful imitation of the character they are playing, and to be so life–like that
they seem to become their character. He said that the
"Purpose of our art is to create the life of a human soul and render it in an artistic form." (2)
Which is quite a clear illustration of the purpose or 'role' of stanislavskian actors. Stanislavski set
out a way of preparing for a role so that the actor could fulfil his role of pure imitation. He started
off by asking the actor to explore the character. He wanted to know what their objective was in each
unit of action and what their super objective was. The super objective was the sum of all the units
and their objectives.
"In a play the whole stream of individual minor objectives, all the imaginative thoughts, feelings
and actions of an actor, should converge to carry out the super objective of the plot"
Once actors can find some direction or purpose (objective or super objective) then it is easier,
according to Stanislavski, to immerse themselves in the character. He noted
"You mustn't act 'in general', for the sake of

Exploratory Essay Pros
For an actor or actress to expect to be rewarded with work, he or she must be on the hunt for
auditions. Some of the best places to search for these potential jobs, are the theatre's around the
location of the actor or actress. Although auditions aren't easy to come across, are essentially the
acting equivalent of job interviews. Anything an actor or actress can use to gain experience in the
field of acting is worth it in the long run, because the experience an actor or actress has the more
likely he or she will increase their skills. Besides being able to preform the monologue or script
given at an audition, there are other requirements that must be prepared prior to attending the
audition. The actor or actress must prepare an accurate resume,

A Set Of Obstacles From Henry Cavill
The training program and nutritional advice for a set of muscles from Henry Cavill ADMIN JUNE
12, 2013 0 The training program and nutritional advice for a set of muscles from Henry Cavill How
to make the perfect body? Talking about his first meeting with Russell Crowe, playing in the new
film "Man of Steel" Henry the father, the actor says that "he was the fattest teenager who hesitate to
approach the star and ask for an autograph." Henry Cavill: "Frankly, I do not blame her classmates
made fun of me as a child. All this made me grateful the results that I have achieved with the help of
strength training. My body – only my merit "(1). How to become a sex symbol? The first serious
workout for a set of muscles Henry began in 2004 to prepare ... Show more content on
Helpwriting.net ...
On each of the four exercises have to 25 repetitions (total in the range of – 100), the minimum break
between exercises, 8 slow breaths. The training program with weights Squat 'Cup »(Goblet Squat).
Exodus. position: standing straight, feet slightly wider than shoulder width, toes apart. Take a
dumbbell with both hands, and then do squats, pushing with your knees apart. At the lowest point of
the elbows should be between your knees. Emissions weight forward (Kettlebell Swing). Exodus.
position: standing straight, weight is on the floor in front of you. Bending his knees, and without
performing step, take the weight, a little "toss" it up, straining the muscles while the legs and
buttocks. The top point – at the level of the chest. Burpoe (Burpees). Exodus. position: standing
straight, feet shoulder width apart. Start the squat, while exposing the arms out to touch the floor.
Take a position for push–ups, then quickly pull the legs to the chest. Stand up. This is one repetition.
Jumping Jack. Exodus. position: standing straight, feet together. Jump up, placing his feet to the side
and raising its hands up over his head. In the same jump and lower your arms back to the starting
position. This is one

Robert De Nero Raging Bull
It was Stanislavski's and Strasberg's intent to make method the staple of acting. The method has
single handedly elevated some of the greatest performances in history. It helped actors go from
superb to immense. Robert De Nero is a method actor. Many will say De Nero had the greatest
acting performance of all time in the movie "Raging Bull" in 1981. His performance changed his
career and also won him an academy award that year. De Nero would go on to have a hall of fame
type career and in many ways the method had a big part to play in it. As much upside there is to
method acting there is a dark side to it as well. There is a danger in that emotional connection that
many actors feared could be catastrophic. A prime example was an actor by the ... Show more
Two months after filming the movie had finished Ledger had committed suicide at age 28. In recent
days it was brought to the attention of the public that ledger had a journal of his preparation for the
role, also while preparing for DC comics most infamous villain, Ledger locked himself away in a
hotel room for a month while he became connected with the character. It was announced a few days
ago that a documentary will be coming out focused on the sudden death of the fallen star and his
preparation for the role. Like Ledger many times method actors while preparing for a role or while
they are playing a role can lose sight of reality. Many actors have come close to death as a result of
method acting. In the movie "Cast Away" where multi Oscar winning actor Tom Hanks plays Chuck
Noland, a Fed–Ex man who becomes stranded on an island, Hanks obsession for the character took
over many times. When the movie had took a year break from shooting Hanks did not shave nor cut
his hair for that whole year, mainly to help make it look as if he had really been stranded on an

Need to Rehearse Your Lines in Book, A Challenge for the...
Introduction:
In this introduction, Hagen helps the actor by giving the reader nine questions to ask him or herself.
She created a few exercises to help the actors and actresses practice by themselves. She states that
when doing these exercises, to not look for "interesting events" and to use real props. She really
stresses the importance of rehearsing your lines.
Basic Object Exercises:
The way that you rehearse should be definite and concise. Practice a lot but when actually
performing it, act as if it was impulsive.
This text helped me to understand Hagen's form and approach to acting. Whenever I see people act
on TV, I think, "wow! It sounds so easy to do what they do" when matter of fact, acting is so hard.
Three ... Show more content on Helpwriting.net ...
It is easier to endow an object with physical and reachable attributes, as it is an object of difficult
description and qualities. I think being able to provide a scene with your endowment of an object to
help you do justice to the scene can be very helpful and beautiful
Talking to Yourself
Be aware of when you talk to yourself normally.
The way that you talk to yourself is different than the way you talk to others, especially an audience.
You may be more confident and ready in front of yourself but less confident in front of others so
again, practicing, in front of a group of friends or audience can help you prepare better. It is still one
of my goals to be able to perform wonderfully in front of the class one day.
Outdoors
Explore being in different outdoor situations
Learn to watch what you do when you are on your own time and not really doing much
By exploring the realms outside of acting, you can really get a feel of what it feels like to be out of a
scene, or perhaps even in a scene. Noticing your behavior while doing nothing can really tell you
how you behave otherwise. Are you really quiet in person and really loud or obnoxious on stage?
This really made me think of who I was and made me wonder if I ever acted for a living, and if it
were to at all change who I was as an actor.
Conditioning Forces

Being able to put together three or more senses like heat, cold, pains, dark, etc.
Being able to walk into a scene

Summary Of An Actor Prepares By Stanislavski
Konstantine Stanislavski constructed a method of preparation for the actor that would change the
entertainment industry forever. When he discovered this idea he complied his thoughts into a book
named, An Actor Prepares. The book contains small concise sentences opposed to normal
paragraphs. Instead of one big story book the novel is made up by small stories on a page. It
captures an actors attention by not focusing on large paragraphs but on short tales. He teaches the
actor to create emotion with expressionism. An Actor Prepares became a manual that taught actors
to live by real circumstances rather than imaginary ones. So, if you are casted in a film where you
are portraying a drug dealer then Stanislavski encourages you to spend time

Case Study Of APL Lanka Private Limited
1. Introduction
1.1 Introduction to the case study
APL Lanka Private Limited is a Shipping agency company whose principal is based on Singapore.
Company will provide all the shipping agency services on behalf of its principal to the desired
customers. In this report it will discuss about the failure of the container deposit refund system
project which was initiated in year 2010 by the company from an Actor Network Perspective. In
order to present the case in an organized and more understandable manner I have adopt and used the
Demise of the Thai Smart ID card case study as a guideline report.
This report will be structured as follows. First it will provide some literature on theoretical
background of Actor Network Theory, brief discussion about the Container deposit refund process
of APL Lanka Private limited before the implementation of the project, discussion about the
container deposit refund system project idea and project objectives and the failure of the project, the
method of data collection, analysis of the failure through Actor Network Perspective and finally the
conclusion.
1.2 Literature review on Actor Network Theory
What is ANT
ANT fills a big gap ... Show more content on Helpwriting.net ...
Other main actors include the Managing Director, Finance Department, Operations Department,
Software programming company, and the customers as the users of the refund system. These actors
had different goals and interests, various kinds of resources and challenges, along with different
tasks which are showing in the below table for the understanding of the case. By this case it could
identify the failures which occurred throughout the project designing and implementation process,
as well as the involvement of the various actors to the implementation of the

Guys And Dolls Play Analysis
What's your tale, Nightingale? Jacksonville State University's production of Frank Loesser's
renowned musical, Guys and Dolls, seems to tell a tale of life in the big apple during the 1950's.
This production was performed at the Carlton Ward Theatre, February 23–25, and March 2–4 of
2018. I had the great privilege of working on this production, as both Assistant Stage Manager and
Dramaturg. Being so heavily involved, I was able to carefully observe different acting techniques as
well as the processes and work that actors went through, not only during production but also during
each night's performances. After working and seeing this production from start to finish, I believe
that the actors worked well on presenting this musical in a fun ... Show more content on
Helpwriting.net ...
I was able to watch Brianna's acting preparation and growth throughout the production and
performances. She broke down her character's motives and objectives through each act, scene, and
line. She attacked all of her obstacles and was able to play those objectives and obstacles on stage!
For example, Adelaide wants nothing more than to marry Nathan. Her super objective might be to
convince Nathan that marriage is the right choice. She goes about this objective by telling Nathan
that she already told her mother they were married, her hesitance in saying this shows that she wants
to marry him but isn't sure why he doesn't want to get married yet. Then when she sings "Adelaide's
Lament" it could be interpreted that she wants nothing more than to be married to Nathan, so much
so that it's making her sick, which is a physicality that Garrett is able to constantly show the
audience throughout the play, even when she sings. In fact, before every entrance, Garrett would
cough and sniffle to prepare her body to portray that of a sick person. By breaking down her
characters' objectives and identifying her obstacles, Garrett was able to bring a certain quality to
Miss Adelaide that only she could have brought to the

Compare And Contrast Brecht And Stanislavski
Bertolt Brecht and Constantin Stanislavski are regarded as two of the most influential practitioners
of the twentieth century, both with strong opinions and ideas about the function of the theatre and
the actors within it. Both theories are considered useful and are used throughout the world as a
means to achieve a good piece of theatre. The fact that both are so well respected is probably the
only obvious similarity as their work is almost of complete opposites.
Stanislavski was born in 1863 to a wealthy family who loved amateur theatricals. In 1898 he met
Vladimir Nemirovich–Danchenko and they founded the Moscow Art Theatre. Stanislavski's work is
centred on the notion that acting should be a total lifelike expression of what is being ... Show more
(3)
Brecht's idea of the actor's role is very much different from Stanislavski's. Brecht saw the actor as
tool to simply represent an archetype. Brecht didn't want the audience taken in by the actor's
performance, he wanted to alienate them from the action so that they could judge the plays
meanings rather than feel empathy with the characters. He called this the Verfremdungseffekt, which
translated from German means the effect of a worldview. Up until Brechts revolutionary work,
method acting was very common. Brecht quoted
"Nowadays the plays' meaning is usually blurred by the fact that the actor plays to the audiences
hearts. The figures portrayed are foisted on the audience and are falsified in the process. Contrary to
present custom they ought to be presented quite coldly, classically and objectively. For they are not
matter for empathy; they are there to be understood and politely added
"I'm not writing for the scum who want to have the cockles of their hearts warmed"
Brecht was not the sort of writer or director that wanted an exact portrayal from his actors of how he
saw his characters. Nor did he expect the audience to take an exact interpretation from he actors. He
wanted the audience to draw some sort of moral from the story that would arouse their sense of
reason to affect their own

An Actor Prepares In My Acting 1 Class
Spot the translation 1: An Actor Prepares in my Acting 1 class.
As we know, An Actor Prepares was wrote by a famous Russian actor and director, Constantin
Stanislavski. It is a well–known work and has highly renown among the performance field. Every
acting courses will include his work into their education through high school to university. Some
actors even reckon this book as their acting standards. However, An Actor Prepares wasn't first
published in Russian. It first published in English by Theatre Arts incorporation in 1936, US and its
translator was Elizabeth Reynolds Hapgood. Then after two years, the Russian original version
finally debuted in Russia with the title of Работа актера над собой by the publisher Искусство,
Moskva : Iskusstvo,

Hurricane Katrina And Its Impact
Introduction Hurricane Katrina is a historical storm that hit the United States on August 29, 2005.
The country experienced the storm exactly four years after the occurrence of the terrorist attack on
9/11/2001. This was three years after the establishment of a crucial department of Homeland
Security. However, regardless of the intensified concentration to homeland security, response to
Hurricane Katrina was a huge failure. The unfortunate response was due to lack of adequate
planning and ability to take care of the risks. The possibility of New Orleans experiencing the
effects of Hurricane had been put into consideration for quite a long time. There were enough
warning signs of the hurricane. Declarations and deliberations were made days before the landfall.
However, responders did not transfigure this information into the extent of preparedness suitable
with the range of the imminent disaster.
Overview and impact of Hurricane Katrina and its impacts Hurricane Katrina was the biggest
natural calamity in the United States that led to immense loses. The storm affected 92, 000 square
miles and damaged much of the major city. More 18, 000 individuals died and thousands became
homeless, with no access to basic supplies. The disaster evolved into a sequence of linked series,
with two primary causes. The basic cause was the storm itself, but no less significant was the
breakdown of the artificial levees intended to safeguard a city constructed below the sea–level.
These

Rachman's 'Tell Me, If You Can, What Is Courage?'
In Chapter 20 "Tell me, if you can, what is courage?" Rachman explored what courage was through
analyzing military soldiers and astronauts. Military soldiers carry out dangerous tasks and their
become more confident after the tasks. Therefore, to be fearless or less fearful, training and
acquiring necessary skills are important to prepare soldiers or people in general to perform
psychological competence and courageous acts. Also, courageous actors possess characteristics such
as calm, confidence, psychological competence than fearful people. Rachman's arguments were very
descriptive and easy to understand. He quoted that "fearlessness was simply the absence of fear in
situations where it might be expected to be present" (Page 213). Then he

Mark Waldhlberg Research Paper
The Life of Mark Wahlberg. Many times in life people change their jobs. People may change their
career because they are bored don't like their job any more. When they change, they try to find
something that they are interested in. I think Mark Wahlberg is one of those people. In 1994, Mark
started making movies, nowadays he is more a fitness trainer than actor. Mark's personal life began
when he was born June 5, 1971 in a poor working class district, Dorchester, of Boston,
Massachusetts . Mark's mom is Alma Elaine (Donnelly), a nurse's aide and clerk, and his dad is
Donald Edward Wahlberg. Mark is the youngest of nine children. Mark grew older when the school
. At the age 14 he quit school .During this time he joined a band. The more famous ... Show more
His first role was in the movie Renaissance Man in 1994 . Many people made fun of him because
they thought that a rapper could not be an actor . From his first papers Wahlberg showed that he was
a good actor(Peterson). Mark is a perfect poster for the movies of violence, he represents American
heroism. At another point everyone thought that Mark would be a number of other things, but not an
excellent actor(Tiffany). Mark decided to change his life to be healthier as many Hollywood actors
are known for their physiques such as, "The Rock" is known for his huge shoulders and Zac Efron is
known for his six pack also Mark's known for his biceps(Tiffany). Now Mark has a manual of
exercises and diets to be like him. He also recommends a brand of supplements so that people can
get arms like those of ,him . Wahlberg is one of the few actors who cares about his health . In an
interview he said that he leaves at 3:00 in the morning to prepare a healthy breakfast and then go to
the gym(Tiffany). At present, he continues doing these routine every day(Tiffany). Mark is an actor
who likes to stay healthy. He was a model of underwear. No person believed in him,but once again
he showed that everything can be done if you want it. Mark demonstrates the discipline and
dedication that can be had if you want something you will never make excuses no matter how
difficult the situation . That Mark Wahlberg is not able to

The American Musical And Dramatic New York
Ethan Brittingham
The American Musical and Dramatic Academy– New York
Group: E4
When I took my first bow on a stage, I knew that wanted to peruse the performing arts as a
permanent career. I was so pleased with myself that I finally found a place where I belong. As I have
grown as a performer, I have learned that performing is not just reciting lines in front of an audience
but creating a picture with words. There is a technique behind acting and many have come to known
this as "method", "method acting", or the "Stanislavski method". This method of acting was created
by Constantin Stanislavski, born Constantin Sergeyevich Alekseyev, a well–known Russian actor,
director, producer and co–founder of the Moscow Art Theatre, which ... Show more content on
Helpwriting.net ...
Being open and onstage is a very overwhelming experience, and not something that everyone
experiences. Theater began in Ancient Greece with masks movement stylized specifically towards
one character. Some styles of theatre may have changed throughout the centuries and countries, but
they were still built upon the early Greek life. However, in everyday life, we do not behave in suck a
way they Greeks or the Romans did back then. Stanislavski pushed actors to find ways to
demonstrate reality while being able to project.
Have you ever people–watched at an airport or an event? This idea helped Stanislavski create the
next element, Observation. Observation can help an actor shift through different emotions and
portray different people. Stanislavski was the ultimate people–watcher. He encouraged his students
to observe humans and animals in their everyday life to see how they react around each other as
well as daily activities. This not only helps the actor portray these actions on stage, but it also makes
the actor more aware of why they are doing the action.
After studying pedestrians around him, Stanislavski would often disguise himself as a peasant or an
old man, and interact with the citizens of his town to gather their reactions and create a better
understanding of humans. Every person is unique. Stanislavski saw this and noticed that every
character should have unique traits. Some of which can be created by observing others in their

Prenatal Fathers Character Analysis
As an actor prepares for the character he/she will portray, there are many considerations that he/she
must traverse in order to create a fully developed character. The actor must fashion the character
from the given circumstances given by the playwright and build upon that with social research and
personal connections. After becoming a father, I prepared a showcase on prenatal fathers in the hope
to capture the emotional journey a man goes through during his transition to fatherhood. In this
thesis, I document the research and preparation I used in portraying pre–paternal men: What does it
feel like to be a prenatal father and what emotions a prenatal father may go through, and I question
whether personally going through the preparation stages ... Show more content on Helpwriting.net
...
This development is largely based on what the playwright informs the actor based on dialogue and
stage directions. The actor then needs to look at the relationship he has with the other characters
within the play as well as his relationship with the environment and time: does he have a disdain or
joy over his current living situation; does he have critical time frames in which he needs to
accomplish a task? After developing the relationship with others and environment, an actor needs to
find out what possibilities a person in that situation may do and keep in his/her arsenal the
possibilities for rehearsal. The more choices an actor has at his/her disposal the better prepared the
actor will be at rehearsals and the stronger the character development will be. The actor may have
personal connections to the character and in finding these connections he/she may find difficulty in
maintaining an objective view depending on the distance from this personal connection. Within the
following chapters, I will lay out my journey toward the presentation of prenatal characters.
This thesis explores the issues of prenatal fatherhood in theatrical texts by analyzing my personal
journey and struggles as a father, compiling research presented in socio–political studies of prenatal
fatherhood, collecting plays directly dealing with characters going through prenatal parenting, and
my experiences in creating, casting, and shaping/rehearsing a showcase of prenatal fatherhood
scenes. Through the activity of performance of these dramatic scenes and my personal life
experience, I draw parallels in research to my work as an academic, a performer, and a

Elizabeth Monologue
Sarah feels totally confident as she looks over her lines for the final time before the curtain opens.
She landed the leading role in her favorite play, Romeo and Juliet. She practiced and rehearsed over
and over again to perfect her character; she is ready. As the curtain raises and the play begins, she
watches the audience; "Where did all these people come from?" she asked, "I didn't expect this
many!" She starts to feel a tingle, a tingle in the back of her neck. It spreads down her shoulders and
to her arms and finally her hands. thump thump, thump thump, thump thump; her heart is racing in
her chest. Sarah sits down, frozen with fear.
Stage fright is an acute nervousness associated with performing or speaking before an audience. It ...
Show more content on Helpwriting.net ...
If an actor finds herself getting extremely nervous or if the attempt at raising her self–confidence
does not work, she can try to calm herself down by thinking of things that make her happy and
excited. These thoughts take the mind away from what is going on and soothe the actor into a more
calm state suitable for performance.
Sarah closed her eyes and tried thinking of different things that could possibly calm her down. She
thought of her dog back at home and how he would run after the tennis ball she threw; she thought
of her friends and all the fun they had when they went dancing. Sarah grew a big smile on her face
until she suddenly heard someone from the stage calling "Juliet!" She opened her eyes and jumped
up. It was only her name being stated, not her cue. She was relieved.
Smiling in relief, Sarah looked back out on stage. She saw the actors and saw the audience, and
began feeling that tingling sensation in her hands once again and immediately sat back down. She
tried closing her eyes and thinking of those happy times as she did before, but it did not help
anymore, she was too startled from hearing her name. She got up and paced back and forth back
stage trying to think of what she was taught to do in this situation, "What am I going to do?" she
asked herself, "What am I going to do?"
Sarah remembered what one of her teachers had told her... "the main cause of stage fright is anxiety
(which she tried overcoming earlier).

How Directors Work with Actors
Scope of the essay:
The essay investigates how a director should communicate and work with actors during rehearsal
and on set to produce engaging performances. The essay investigates different acting styles, the
rehearsal process, directing on set and communication between actors and director. The essay
assumes the actor has formal training and basic experience. The essay then proves effective
communication achievable through the "actor's vocabulary" is key not to over–direct and building
trust with the actor.
The Hypothesis:
If an engaging performance is dependant on effective communication between director and actor,
then studying what an actor needs communicated to him by the director will ensure the actor
understands the ... Show more content on Helpwriting.net ...
He weaves the soul of the person he is to portray out of emotions that were dearer to him than
everyday sensations" (Stanislavsky, K: 1936).
I believe this is one of the most effective ways of acting, but in modern cinema this techniques has
often been described as "dangerous" to the actor's mental health. This is because the actor creates a
new character by using his own experiences and reawakens emotional trauma that is part of his own
life, and not that of solely the character.
The following exercise allows the actor to focus their senses to become more receptive to "sense
memory."
The actors should begin by focusing on the three dominant senses: sight, sound and touch. The actor
should then choose an object that appeals to these senses and start to explore it intensely. The actor
should become aware of which sense is the most dominant and record the finding to discuss
afterwards.
Next, the actor should assume a comfortable position and focus all attention on a single stimulus
such as a colour, sound, texture etc.) This should carry on for about 5 minutes, after which the
findings should be documented and discussed (Taylor, J. 2001).
I feel that these exercises are useful if performed before rehearsals by only the actor. The
experiences the actor gained through these exercises should only be available for recall during
rehearsals. It is not important for the director to know how or where the

Stanislavski An Actor Prepares Undertak Analysis
An Actor Prepares is quite an undertaking. Stanislavski strives to communicate to his audience the
highly theoretical and, therefore, obtuse concepts of acting. Theoretical concepts are many things,
not the least of which is accessible to a broad audience. Stanislavski attempts to remedy this
dilemma by formatting his book as a fictional class with fictional characters who explore and learn
about the theoretical concepts that he possets are essential to truthful art. This classroom format
makes the book particularly accessible for acting students who can recognize themselves in the
various students of the book as well as the trials, tribulations, and eventual successes that these
fictional students experience along the way. This fictional classroom follows a similar progression
to our own Acting 101 class because like Stanislavski's imagined students, we have begun with the
most elementary, sophomoric aspects of acting and built up from there. Many of the exercises that
the students in An Actor Prepares ... Show more content on Helpwriting.net ...
The idea of finding an inner motivation to justify our external actions has been reflected in many of
our exercises–in particular the clap game in which we perform some task (such as freezing, hiding
from danger above, being late, jogging, or moving in slow motion) based on an assigned number of
claps. You consistently emphasize that we needed to find a motivation for what we are doing. So
when you clap twice, I concoct a story in which I am hiding from fire breathing dragons gliding
above me in the sky. Without this motivation for why I am hiding, the action is empty and boring.
The students in An Actor Prepares experience the same conclusion. Finding a motivation for an
action gives it purpose; it gives me the reason for which I am doing

Stanislavsky Research Paper
Stanislavsky was born in 1863 and died in 1938. He's well known for his interest in yoga dovetails
and his holistic view of psychology. In Stanislavsky's life he witnessed three revolutions,realisms
overturn of nineteenth century histrionics, modernisms rejection of realism, and Russia's political
move from monarchy to communism. He would visit plays, circuses, ballets and the opera which I
think helped to influence his work. His father built a theatre in 1877 and in 1912 he started the first
studio to develop his system for actor training. In the early nineteenth century actors were regarded
as lower class citizens, due to this 'konstantin Alekseev' began to act without his family's
knowledge, under the stage name Stanislavsky. In 1897 Stanislavsky

Stanislavski's Method Of Acting
Inward than outward Constantin Stanislavski believes that "The Method" is the most powerful
acting technique. In fact, "An Actors Prepares" Stanislavski states:
The actor must recreate his work, each time he repeats his part, with sincerity, truth, and directness.
It is only on that condition that he will be able to free his art from mechanical and stereotyped
acting, from "tricks" and all forms of artificiality. If he accomplishes this, he will have real people
and real life all around him on the stage, and living art which has been purified from all debasing
elements. (Constantin Stanislavski)
The quote above is basically targeting actors who are ignorant to Stanislavski true method of acting
in "An Actors Prepare". Stanislavski was a ... Show more content on Helpwriting.net ...
Solitude can be important to bring out creativity, and lead to the creation of forth wall. The illusion
that the actor can create to have solitude is the fourth wall on stage. The four wall is an imagery wall
that exists between the actor and audience. In addition, solitude can allow an actor to be in his or her
mind. The mind is very powerful because it allows an actor to bring forth the imagery forth wall in
the outside world. Thirdly, if an actor doesn't use inner–purpose or solitude one would overact to
compensate for lack of using a technique called "The Method". In fact, overacting is an unnecessary
exaggeration of a character in a play. Overacting can be perceived as a façade or even having a lack
of emotions. Stanislavski is against overacting because it uses an artificial façade by only using only
outward appearance. In fact, when an actor just focuses on outward appearance the actor can forget
their inward purpose. Stanislavski was a very important theatre teacher during his time. He created
"The Method "to bring out emotions in an actor. In "An Actor Prepares" it can be concluded that an
actor must have an inward purpose, solitude, and overcome overacting. Understanding those three
aspects can bring light to Stanislavski's "The Method". The method is powerful because it uses
inward technique to make an actor's acting more

Morgan Freeman's Film 'Ben-Hur'
Hollywood actor Morgan Freeman is still agnostic, but he has expressed approval for the message
that the Christian–themed film "Ben–Hur."
In the new Christian–themed movie, the 79–year–old actor plays the role of a Nubian sheik with an
unruly set of dreadlocks. On Monday, Morgan Freeman spoke to journalists about his latest movie,
"Ben–Hur" and gave his co–star personal tips on preparing to play a divine being, AFP reports.
Freeman said Brazilian actor Rodrigo Santoro, who plays Jesus in "Ben–Hur," should prepare for
his role not by going to church but by reading the script.
"Divine is not that hard to play if you want to know the truth of the matter. People say 'Well you've
played God –– how did you prepare for that?'" Freeman told the media.

An Actor Prepares
An Actor Prepares' by Constantin Stanislavski
Because I'm usually immersed in web stuff, it's interesting to read a text whose ideas are still
relevant to its target profession 70 years on. It was mostly a more enjoyable read than I expected –
it's written as if by a student of acting, reporting on a year of training. It makes clear how much
more there can be to acting than just "pretending to be someone else". Unfortunately I kind of lost it
around two–thirds of the way through, when he starts talking about transmitting "rays" to each
other, and things get a bit hazy and repetitive. Maybe that stuff makes more sense when the
preceding chapters have been properly absorbed and used. (Also see my notes on Sanford Meisner
on Acting and Uta ... Show more content on Helpwriting.net ...
Action
35–7 Whatever happens on stage must be for a purpose, even if you outwardly appear to be doing
nothing. You must act either outwardly or inwardly.
40–41 Never simply try to act emotions – emotions are caused by something that has gone before,
and it's this that you should think of. The result will produce itself.
46 "If acts as a lever to lift us out of the world of actuality into the realm of imagination."
4. Imagination
70 The actor must use his imagination to be able to answer all questions (when, where, why, how).
Make the make–believer existence more definite.
71 If you do or say anything on stage without fully realising who you are, what you're doing, how
you got there, etc, you're not using your imagination. If someone asks "is it cold outside?" you
should "remember" what it was like when "you" were last out – the sights, sensations, etc – before
answering.
5. Concentration of Attention
75 "An actor must have a point of attention, and this point of attention must not be in the
auditorium."
82 "Solitude in Public": when you are in public (e.g., on stage) but have a small circle of attention
and feel alone within it.
83–5 Your focus of attention can be larger areas, but this is harder to maintain – if it begins to slip,
withdraw the attention to a smaller circle or single object/point, then gradually enlarge the circle of
attention again.
88 At the end of

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