This lecture is for the Drama and Acting lecture in HUM 1900.

14. Acting

15. What are the differences between acting for the
stage

16. What are the differences between acting for the
stage and acting for the camera?

17. Film acting requires a different approach than theater acting

18. Film acting requires a different approach than theater acting
Films are shot out of sequence:

19. Film acting requires a different approach than theater acting
Films are shot out of sequence:
- scheduled logistically

20. Film acting requires a different approach than theater acting
Films are shot out of sequence:
- scheduled logistically
- can’t build toward a performance, the way they can
on the stage

21. Film acting requires a different approach than theater acting
Films are shot out of sequence:
- scheduled logistically
- can’t build toward a performance, the way they can
on the stage
- get “into character” very quickly

22. Scenes are constructed out of shots:
wide shot, medium shot, close up, etc.

23. Scenes are constructed out of shots:
wide shot, medium shot, close up, etc.
Most films are shot with a single camera

24. Performances are ASSEMBLED out of the best shots

25. Performances are ASSEMBLED out of the best shots
Actor’s performance is (somewhat) out of their
control - in editor’s hands

26. Performances are ASSEMBLED out of the best shots
Actor’s performance is (somewhat) out of their
control - in editor’s hands
Films that contain a lot of editing may distort an actor’s
performance (formalism)

27. Performances are ASSEMBLED out of the best shots
Actor’s performance is (somewhat) out of their
control - in editor’s hands
Films that contain a lot of editing may distort an actor’s
performance (formalism)
Film = director’s medium

28. Performances are ASSEMBLED out of the best shots
Actor’s performance is (somewhat) out of their
control - in editor’s hands
Films that contain a lot of editing may distort an actor’s
performance (formalism)
Film = director’s medium
Theatre = actor’s medium

29. Method Acting

32. Method Acting
- based on concepts originally developed by
Constantin Stanislavsky, Russian stage
actor and director

33. Method Acting
- based on concepts originally developed by
Constantin Stanislavsky, Russian stage
actor and director
- reaction to the more showy acting styles of
the time (early 1900s) –reaction against Theatrical Acting

34. Method Acting
- based on concepts originally developed by
Constantin Stanislavsky, Russian stage
actor and director
- reaction to the more showy acting styles of
the time (early 1900s) –reaction against Theatrical Acting
- developed more realistic style of acting

35. Method Acting
- based on concepts originally developed by
Constantin Stanislavsky, Russian stage
actor and director
- reaction to the more showy acting styles of
the time (early 1900s) –reaction against Theatrical Acting
- developed more realistic style of acting
- performances are more internal, less external

36. Method Acting
- based on concepts originally developed by
Constantin Stanislavsky, Russian stage
actor and director
- reaction to the more showy acting styles of
the time (early 1900s) –reaction against Theatrical Acting
- developed more realistic style of acting
- performances are more internal, less external
-actors “live” the part

37. Method Acting
- based on concepts originally developed by
Constantin Stanislavsky, Russian stage
actor and director
- reaction to the more showy acting styles of
the time (early 1900s) –reaction against Theatrical Acting
- developed more realistic style of acting
- performances are more internal, less external
-actors “live” the part
-lengthy rehearsal periods, actors encouraged to improvise

38. Subtext

39. Subtext
Stanislavsky encouraged actors to look for subtext in
the script – what the characters are thinking (beyond
what they’re saying)

40. Subtext
Stanislavsky encouraged actors to look for subtext in
the script – what the characters are thinking (beyond
what they’re saying)
Emotional Recall-By exploring their own subconscious
actors could trigger real emotions

41. Subtext
Stanislavsky encouraged actors to look for subtext in
the script – what the characters are thinking (beyond
what they’re saying)
Emotional Recall-By exploring their own subconscious
actors could trigger real emotions
Subtext is often conveyed non-verbally through body language

42. 1947 - The Actor’s Studio founded in New York

43. 1947 - The Actor’s Studio founded in New York
- based on concepts pioneered by Stanislavsky

44. 1947 - The Actor’s Studio founded in New York
- based on concepts pioneered by Stanislavsky
Members of The Actor’s Studio include:

45. 1947 - The Actor’s Studio founded in New York
- based on concepts pioneered by Stanislavsky
Members of The Actor’s Studio include:
- Robert de Niro

46. 1947 - The Actor’s Studio founded in New York
- based on concepts pioneered by Stanislavsky
Members of The Actor’s Studio include:
- Robert de Niro
- Sidney Poitier

47. 1947 - The Actor’s Studio founded in New York
- based on concepts pioneered by Stanislavsky
Members of The Actor’s Studio include:
- Robert de Niro
- Sidney Poitier
- Marlon Brando
and many others

48. Sherrybaby (2006)
Dir Laurie Collyer
Maggie Gyllenhaal as Sherry