This quarter in Theatre 2, we start looking at the acting philosophy of Constantine Stanislavsky. You'll find some concepts similar and different that other philosophers studied this year.
This quarter in Theatre 2, we start looking at the acting philosophy of Constantine Stanislavsky. You'll find some concepts similar and different that other philosophers studied this year.
Fun and practical film workshop learning for teenagers and adults. The guide is designed as a presentation to teach about shot types and film language as well as a 'how to' in creating films in a workshop environment. The guide covers many technical features of film such as frame rate, 180 degree rule, lesson ideas, composition, photography and shutter speed, focal length, DOF, IOS, colour temperature, white balance and more.
Method Acting is considered as classic technique in on screen acting. It involves great deal of personal observation and practice. There are a few tips also mentioned in the lecture.
Cinema is developing day by day.But it's began with horse galloping.So we must know about history and the evolution of cinema..So there are lot of important characteristics and changes we must know about cinema.Hope you like it..
The Show Must Go On: Using Principles of Dramatic Acting to Transform Us into...Lindsey Rae
Assuming the role of “teaching librarian” comes with its own set of unique challenges. Unlike school teachers or college professors, who have weeks to frame an educational context and build rapport with students, librarians often see students in a “one-shot” format. As an added obstacle, we also come up against librarian perceptions and stereotypes that can “freeze us out of instruction”; the anxious feelings students express toward research have been shown to negatively influence their impressions of the library and, by extension, librarians (Pagowsky & DeFrain). We must create a positive environment that supports student learning every time we enter the classroom from square one–a tall order to most of us, who received little or no training in what it takes to teach while we were becoming librarians.
The good news is, teaching is not an exercise in pass/fail. It’s a performance that unfolds and evolves over time to suit the needs of our students and our own needs as teaching librarians. This workshop prepares participants for teaching from “dress-rehearsal” to “opening night.” These activities will take teaching librarians on a journey inspired by acting exercises to gain self awareness. They will develop their teaching librarian personas, plan for potential challenges, and feel overall more empowered and confident about making intentional choices in the classroom.
Pre-conference workshop facilitated at WILU 2015 in St. John's, Newfoundland, Canada.
Fun and practical film workshop learning for teenagers and adults. The guide is designed as a presentation to teach about shot types and film language as well as a 'how to' in creating films in a workshop environment. The guide covers many technical features of film such as frame rate, 180 degree rule, lesson ideas, composition, photography and shutter speed, focal length, DOF, IOS, colour temperature, white balance and more.
Method Acting is considered as classic technique in on screen acting. It involves great deal of personal observation and practice. There are a few tips also mentioned in the lecture.
Cinema is developing day by day.But it's began with horse galloping.So we must know about history and the evolution of cinema..So there are lot of important characteristics and changes we must know about cinema.Hope you like it..
The Show Must Go On: Using Principles of Dramatic Acting to Transform Us into...Lindsey Rae
Assuming the role of “teaching librarian” comes with its own set of unique challenges. Unlike school teachers or college professors, who have weeks to frame an educational context and build rapport with students, librarians often see students in a “one-shot” format. As an added obstacle, we also come up against librarian perceptions and stereotypes that can “freeze us out of instruction”; the anxious feelings students express toward research have been shown to negatively influence their impressions of the library and, by extension, librarians (Pagowsky & DeFrain). We must create a positive environment that supports student learning every time we enter the classroom from square one–a tall order to most of us, who received little or no training in what it takes to teach while we were becoming librarians.
The good news is, teaching is not an exercise in pass/fail. It’s a performance that unfolds and evolves over time to suit the needs of our students and our own needs as teaching librarians. This workshop prepares participants for teaching from “dress-rehearsal” to “opening night.” These activities will take teaching librarians on a journey inspired by acting exercises to gain self awareness. They will develop their teaching librarian personas, plan for potential challenges, and feel overall more empowered and confident about making intentional choices in the classroom.
Pre-conference workshop facilitated at WILU 2015 in St. John's, Newfoundland, Canada.
A great overview of theatre styles citing origins, pictures, key characteristics and aims of style. Lot of work but worth it. Don't claim it as your own or you're dead meat!!
Auditorium Literature Study & Design ConsiderationsVartika Sharma
The presentation includes basic fundamentals to keep in mind while designing an Auditorium.
Source:
• National Building Code (NBC),
• Time Saver Standards-Building Types (TSS),
• Neufert
• IS Code - is.2526.1963
What Is Acting? Paper presented at NYU Theatre Pedagogy conference 2009James Croft
What is Acting? This is a question that many have tackled, but few have answered convincingly. It is also a question crucial for teachers of acting: if you don't know what you're teaching, how can you teach it?
This presentation, presented at New York University in April 2009, explores how different definitions of acting have led to different theatre training techniques, and tries to show a way forward using the philosophy of Nelson Goodman.
There is also a short discussion of emotion and its relationship to good acting.
First Performances on FilmNovelty films of Edison (189.docxAKHIL969626
First Performances on Film
Novelty films of Edison (1895-1905) The Great Train Robbery (1903) 1st narrative film
Clip: The Kiss
Early InfluencesTheater legitimate art form Dominant Acting styles: Classical, Melodrama, Vaudevillebroad, histrionic gesture, not suited for the intimacy of the camera Early Moving Pictures- (1900-1915)base entertainment for the masses As a result 2nd class actors employed in Moving PicturesPerformances appear ‘affected’
Early MilestonesSociete Film d’Arte-France (1908)full length playsFamous Players In Famous Plays (1912)Feature length, ‘canned’ theaterBiograph Studios (1908-14)Griffith, Gish‘Naturalism’Chaplin (1914-25)Slapstick Screen Persona
Broken BlossomsBroken Blossoms (1919) ‘Natural’ performance, subtleness of gesture, character developmentGriffith first director to minimize actionsplay to the cameraDirects Gish to observe everyday people, types, movements, behavior, and to emulate through deliberate practice
Clip: Broken Blossom
Hollywood and The StarThe Matinee Idol (20’s)Mary Pickford ‘America’s Sweetheart‘Hollywood ‘gossip’ columnLuella Parsons-Hedda HopperScandals of the Roaring TwentiesGolden Era of Hollywood (30’s, 40’s) The Star is cultivated Image, Screen PersonaMGM –’more stars than there are in heaven’Seven Year Contract
Clip- Mae West, Gold Diggers, Monroe
The MethodStanislavski - the Moscow Art Theater 1895A system of acting based on naturalism in performance, both physical and psychologicalThe ‘inner life of the character’ Actor as artist- perfection of craft An ‘instrument’ of the theater‘Work on Oneself ‘‘Science’ or method of acting Theory/Terminology‘the magic if’, improvisation, emotional memory, objectives, subtext, ‘method of physical actions’
The Method in the US1923 Boleslawski founds The American Laboratory Acting The First Six Lessons1930 Group Theater - Lee Strasberg, Harold Clurman, Stella Adler, Elia Kazan, Clifford Odets.Political/Social platformCommunist Party1934 Adler Visits Stanislavski, receives direct instruction, causing controversy and the eventual split of the Group Theater
The Actors StudioElia Kazan Founds the Actors Studio (1947) devoted to training Film Actors in the MethodLater run by Lee StrasbergBrando, James Dean, Marilyn MonroeInside the Actors Studio Pervasiveness of ‘method’ based acting
Links:
https://sites.google.com/site/arttheatrestudio/
www.theactorsstudio.org/studio-history/
http://www.methodactingstrasberg.com/history
http://www.npr.org/series/4510430/the-evolution-of-acting
Brando and KazanKazan actor’s director. Accomplished in both stage and screen Tennessee Williams, Arthur Miller. Brando, James DeanBrando’s Relationship with Kazan. Street Car Named Desire, On The WaterfrontBrando personifies the ‘complex’ character. Inner vulnerability/Tough exteriorRebuked for never repeating lines same way, mumbled or threw away linesExuded ‘charisma’/ inner life (subtext)Both Screen Persona and Character Development strongly represen ...
Week 4 CCC Part 4 Template4A. Goal Reflection and Revision .docxjessiehampson
Week 4 CCC: Part 4 Template
4A. Goal Reflection and Revision
Original Goal (from Part 1E):
Updated Goal:
Rationale:
4B. Behaviors Brainstorm
4C. Behavior Description
Behavior 1
· 4C1. Behavior 1: In order for me to achieve my goal of …, I will . . .
· 4C2. Behavior 1: In order for me to achieve my goal of …, I will . . .
· 4C3. Behavior 1: In order for me to achieve my goal of …, I will . . .
Behavior 2
· 4C1. Behavior 2: In order for me to achieve my goal of …, I will . . .
· 4C2. Behavior 2: In order for me to achieve my goal of …, I will . . .
· 4C3. Behavior 2: In order for me to achieve my goal of …, I will . . .
(Add more behaviors as needed.)
4D. Description Revision
4E. Final Behavior List
Final Goal (Updated Goal fro 4A):
Specific Behaviors (4C):
Statement of Behaviors:
THE ACTOR
-a brief chat-
WHAT IS ACTING?
WHAT MAKES A GOOD ACTOR? WHAT TOOLS ARE USED?
https://youtu.be/nyoWmkhRyp8
A Few Schools of Thought…
________________________________________________________________________
________________________________________________________________________
_________________________________________________________________________
_______________________________________________________________
STANISLAVSKI
“the art of experiencing”
-taking on the life of another
STRASBERG
“The Method”
-psychological aspects
ADLER
-harnessing imagination/action
-thought ”The Method” was unsafe
MEISNER
-importance of impulse/instinct
-”truth above all”
CHEKHOV
-physical manifestation
-use body to show character’s inner life
PRACTICAL AESTHETICS
-what is the essential action?
-the actor’s primer
HAGEN
-applying own experiences to circumstances
-”realism above all”
SPOLIN
-for directors as well
-importance of play/improvisation
THE “DEFINITION” OF ACTING
“Acting is
living truthfully
under imaginary circumstances.”
-Meisner
What does the actor do?
Brings life and character to the text.
Attempts to create a full, truthful, three-dimensional character.
Attempts to understand the psychology of their character.
Why do I do what I do?
What do I want?
What is in my way?
What is at stake?
SIDEBAR:
WRITE DOWN YOUR FAVORITE MOVIE/TV SHOW/PLAY/MUSICAL
Who is your favorite actor/character in it?
Why?
Tell your pal next to you.
NO JUDGING. DON’T BE A JERK.
HOW DOES THE ACTOR DO IT?
OBJECTIVE – TACTIC - OBSTACLE
1. Objective
What does the character want?
"I want to ______".
Super-objective: throughout show.
Objective: smaller goals throughout
Bigger objective = higher stakes
2. Obstacles
That which is in the way of getting what the character wants.
For example:
The other person’s feelings
Your own self esteem
Society
Money
The environment
A bear.
3. Tactics
HOW we go about getting what we want
By _______ing
Complimenting
Scolding
Seducing
Joking
Guilting
TACTICS & OBSTACLES EXAMPLE
https://youtu.be/u4Je2WxsqWA
Objectives and Tactics
A change in OBJECTIVE requires a cha ...
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
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.
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 Naturalism
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.
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.
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.
