From your reading:
A. ACTING QUOTE:
Select an acting quote from the listing of acting quotes in your course pack and write a paragraph stating why the quote is the most meaningful to you as an audience member or performer. DON’T FORGET TO STATE THE QUOTE.
B. ACTING TECHNIQUES
Write three paragraphs comparing acting techniques as described in your course pack. Don’t forget to use headings for each paragraph
3, Which acting technique works best for musical theatre performers? Why?
REMEMBER, STATE THE QUESTION AND PLACE YOUR ANSWER BELOW IT.
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UNFORMATTED ATTACHMENT PREVIEW
Adobe Digital Editions – THEATRE 100: Introduction to the Theatre – 19317 File Edit Reading Help Library . E Module 11. THEATRE AS A COLLABORATIVE ART: THE ACTOR Theatre is a collaborative art form that uses performers to present the experience of a realistic or imagined event before a live audience, What is the role of the actor in the creative process? Elements of Acting: Acting is the most visible element of the theatre that the audience experiences. It involves creating a character, pretending, conveyed through doing and portraying on the stage a vision of life. Acting can be considered as a “pure art”: the artist and the instrument are the same. Acting consists of: 1. a series of tasks, usually in a situation or context; 2. done usually as someone else; and 3. imaginary — at least part of it The actor must discover the essence of character and project that essence to the audience. The Essence of the character has been perceived differently, however, at different times, periods, styles, and cultures, and by different personalities of actors. Source: https://novaonline.nvcc.edu/eli/spd 130et/TheApp/acting.htm THE EXTERNAL OR PHYSICAL APPROACH – the actor takes on the physical attributes of the character – works from the outside in to create a character. In the external approach, the actor re-creates (without connecting emotionally) the external attributes of the character’s emotions. The actor creates the illusion (through the use of physicality) of the emotion the character experiences within the universe of the play or film. Anthony Hopkins used an external technique to develop the character of Hannibal Lecter in the 1991 film SILENCE OF THE LAMBS. Actors using the external approach work from the outside inward creating the character through a physical state. https://www.youtube.com/watch?v=99Ptctl 5_90 Anthony Hopkins as Hannibal Lecter 77 77 (80/130) Type here to search j O 9 . EPIC 4:10 PM 11/7/2019 Adobe Digital Editions – THEATRE 100: Introduction to the Theatre – 19317 File Edit Reading Help Library . E The external approach to acting can be traced back to the writing of Francois Delsarte (1811-1871) – who devised system of expression that reduced emotions to a series of fixed poses and attitudes, achieved through body and voice. The Delsarte system created a specific physical gesture for each emotion. This technique was later adopted in silent film. This Delsarte method became so popular that it was taught throughout the world, But it was much more. It was actually a connection to a specific emotion rather than just a gesture illustrating it. MER do ry M Delsarte’s influence was still being strongly felt in the early days of silent pictures. And the training of course remained in the older actors through most of the 20th century, only gradually becoming supplanted by the more realistic styles of younger generations. THE INTERNAL APPROACH TO ACTING. As the world changed, and new technologies such as sound and writing styles were introduced, acting styles became more internal. Modern “realistic” acting based much on Stanislavsky (1863-1938). Acting styles became more realistic 78 78 (81/130) Type here to search O j 9 . EPIC 4:10 PM 11/7/2019 Adobe Digital Editions – THEATRE 100: Introduction to the Theatre – 19317 File Edit Reading Help Library . E The introduction of sound in cinema at the turn of the century gradually forced acting styles to become more intimate and realistic. An actor approaches a role using Relaxation, Concentration, Imagination, and Observation. In addition, actors began to rely on their own personal experiences and emotions to interpret how their characters felt in a given situation. If an actor had to play a scene in which they were in love, they relied upon their own experiences to create that emotion and physicality. A. voice and body — must learn control voice and body to express a physicality and emotional state to audience. 1. understanding – of the character and universe they live in 2. practice – the rehearsal process to allow the character to evolve. 3. discipline – to perfect it Obstacles must be overcome usually through exercises, improvisations (enacting characters in a situation without planned script or blocking), theatre games (animals, stereotypes, machines, etc.). Imagination and Observation – observe and imagine people in various relationships. The term “affective memory” has often been used to refer to use of the actor’s memory to find things in his/her life that are similar to, or could evoke, the emotions required by the character on stage. This would involve emotional memory (remembering feeling from the past), sense memory (remembering sensations), and substitution (mentally replacing the thing /person in the play with something / someone in real life) Control and discipline Actors must learn how to develop their powers of concentration. Must be aware always of their current situation (being an actor on stage, with an audience out front) and the context of the play (what is the character doing/feeling/etc.) What am I doing? — NOT how am I doing? The Acting Process: Analyze the character use the written script to determine all information about the character what does the character say about themselves? what does the playwright say about the character? what do other characters say about the character? 2. Define goals of the characters – within the universe that they live in. Determine the character’s Objectives — what the character wants for each scene — intention, purpose – this is really the character’s entire justification for being on stage…Often broken down into three “types” of objectives: Objective — what the character wants for each scene 79 79 (82/130) Type here to search j O 9 . EPIC 4:10 PM 11/7/2019 Adobe Digital Editions – THEATRE 100: Introduction to the Theatre – 19317 File Edit Reading Help Library . E Super objective — the “Spine” — what character wants for the whole play. Also called the through-line. Source: http://novaonline.nvcc.edu/eli/spd 130et/TheaApp/acting.htm “beats,” “units” –sub-objectives — changes of mood, intention, subject, etc., in a scene. 3. Character relationships: to other characters in the play 4. What is the character’s function within the play? Actors should have an understanding of how their character relates to the theme and the action of the play 5. Subtext–not what you say but how you say it–the actions and unspoken thoughts going through the mind of the character. https://www.youtube.com/watch?v=mo1Q0oWbgDc Psychological and Emotional Preparation The “magic if” — what would I do if I were that character in that situation. Emotional and sense memory — “affective memory” and “substitution,” sense memory — clothes, air etc. — how do they affect your senses? Emotional memory — remembering action / feelings from one’s own life that resemble character’s in play. Sense Memory – The technique involves recalling a sensual experience – sight, sound, smell, taste, or touch-to evoke an emotional reaction appropriate to a moment in the scene. If sense memory can help an actor achieve this, we use it. To what extent does the actor “become the character? There are different degrees of identification (or detachment) from character — probably combined — actor and character, involved and detached… 80 (83/130) Type here to search j O 9 . EPIC 4:10 PM 11/7/2019 Adobe Digital Editions – THEATRE 100: Introduction to the Theatre – 19317 File Edit Reading Help Library . E Physicality How does the character move within their universe – Stage business — “Obvious and detailed physical movement of performers to reveal character, aid action, establish mood.”? or to simulate real life? Delsarte — focused on physical characteristics – body language. Stanislavsky-focused on connecting physicality to real movements internally driven within a situation. Blocking — “…the arrangement and movements of performers relative to each other as well as to furniture and to the places where they enter and leave the stage.” where actors move, how, and facing which directions Vocal characteristics Actors are armed with a variety of exercises to improve their vocal quality (projection (ability to be heard), tone, inflections, pitch, rate) and their articulation (pronouncing words clearly and accurately). The Play Script “Learning Lines” (Memorization) and line readings – learning lines suggest more than just memorization — it suggests learning why, for what purposes, in what circumstances lines are said… semantics refers to the “meaning” of what is said. 81 81 (84/130) Type here to search j O 9 . EPIC 4:10 PM 11/7/2019
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Tags: art and design Humanities Performance Arts acting techniques Internal Approach