What you think is best or worth after you read the two of the article?

User Generated

zvxb0303

Humanities

Description

1. what you think is best or worth after you read the two of the article ?

2. what you learn it form the reading ?

3. give your own view after you read the article .

2 page double space. thanks

Unformatted Attachment Preview

to plan come and play KONSTANTIN STANISLAVSKI The Grandfather of Actor Training Konstantin Stanislavski (h. 1863 - d. 1938 grew up in a privileged family environment and became one of the most important Directors/Actors in history, Stanislavsk was greatly influenced by Mikhail Shchepkin, an actor who discovered realism after watching a performance in which one of the actors used simple yet effective technique which was completely at odds with the popular acting style of the time. He was fascinated by how affecting this actor was, and once he unlocked the way to achieve this same quality in his own acting, he became one of the most highly revered actors of his time. He died on the day Stanislavski was born. Stanislavski founded the Moscow Art Theatre, with Vladimir Nemirovich-Danchenko, a well-known playwright and producer of the time. In a meeting that lasted 18 hours, the women addressed what each of them felt were essential elements of theatre and performance. The end result was the birth of the Moscow Art Theatre After a highly successful production of Anton Chekhov's play "The Seagull, Stanislavski became known as Chekhor's definitive director, and the Moscow Art Theatre the definitive company for the production of his works. In the past, directors had produced Chekhov's plays using the popular style of acting which relied upon declamation, stars and gimmicks. Stanislavski brought Chekhov's plays to life by taping them in a more realistic way, with the actors playing their characters realistically instead of in a declamatory way. To achieve this realistic idea of creating theatre, Stanislavki's production of Chekhov's plays used sound effects, realistic sets and the actors utilized truthful emotions. This production of The Seagull stamped the MAT in history and established Stanislavski's reputation as director and actor. The impact of the play on the company was so significant that the MAT's symbol became a KEY ELEMENTS OF STANISLAVSKI'S SYSTEM Actors must develop the skills of relation, physical fitness and body movement, breath and voice. Actors need to develop a theatrical sense of self through Concentration, Imagination and Communication Actors need to be multi-skilled, studying history, art, music, and literature spending time investigating the plays and characters they were reheaning Actors must research their character and the world of the play to discover behavior, background social standing personal relationships anything else that can give clues as to how the character lives and behaves within the play. The actor must focus on what they are actually doing in a the problem they are solving or the task they moved to complete must be broken down in to sections of action - bits for bets and pieces - and each actor must break their characters beats of action down to enable them to find the are or journey of the character. Bests and Pieces can be named to identify the essential content of the scene. IN CONCLUSION Above all, Sunislavski wanted his actors to be believable and represent real life behavior, not false or over the top imitations He wanted the world of the play to be realistic and to reflect the world that the wodience was familiar with, and wanted his actors to work together as an ensemble to create a unified vision. One of the most famously quoted saying's from Stanislavski is "There are no small parts, only small actors We can see even from this brief overview of Stanislavski's work the profound influence he has had on contemporary acting. theatre and film. Without his discoveries, research and developments, acting as we know it may not exist seagull The steps to a Basic Stanislavski Analysis Given Circumstances Factual information provided by the playwright, director actor, that pertains to the relationships, location, environment, time, situation, social/political/religious environment of the play. Most efficiently broken down into Environment, Relationships, Situation Action, Objective and Super Objective These are the elements of the analysis that identify what character is aiming for during a scene and/or play. The Action is what the character in question is seeking from the other character or characters in the scene. The Action must relate to the immediate moment, and must address what they want the other character to understand or do in the scene or beat The Objective relates to the immediate future - what will happen after the Action has been achieved? The Super Objective looks to the more distant future, and identifies the long term goal that the character seeks for their future, Examples below are for the Romeo & Juliet balcony scene. Given Circumstances Relation (who is in the scene and what is their relationship) Juliet has recently met Romeo a family party in her home They have shared a kiss Environment where are they and what is there relationship to the location?t Juliet is on the balcony off her bedroom, it is a familiar environment for her: Romeo is on the wall of the Capulet chand from where he can see Juliet's balcony window, it is a dangerous place for him to be as the Capulets are enemies to his family Sinto what has happened leading up to this moment Juliet's family have thrown a party for her, introducing her to society. During the party, Romeo and his friends snuck in and Romeo et Juliet on the dance floor. They danced and shared a kiss. Romeo left the party and has left his friends to go and see if he cas Juliet anywhere on the property. Juliet has retired to her bedroom where she has been daydreaming about Action what the character is trying to achieve in the scene To get the other character to understand or do something es. To get Remco to understand that he must prove his love for Objective why they need to achieve this: So that song in oras cancer is the immediateur cs. So that I can have a friend and confidante for my own. Super Objective the overriding reason the for Action and Objective So that. Important can occur in the distant future eg. So that we can get married and bring our families together. Tactics (the tools used to achieve the Action) A list of Transitive Verts that the actor engages in throughout the scene e to, to bewitch, to chastise, to inspires , to invite to quiet, to permit to protect, to want to divert, to die, to encourage, to Rece Tactics Tactics relate to the moment to moment intentions that helps actor to achieve their Action, Tactics should be listed as transitive verbs (ie. verbs that can be done to another person). and should represent the way the actor deals with his/her co actor/s in each moment. Prop stereotypical diva or demanding actor. If love should bloom while in a show, great Keep it outside! If you have a personal struggle, sorry, but keep it outside. You were hired for your performance abilities; perforn. This is a nisomer. The stage manager may set any reasonable arrival time for any actor in any show. You should welcome your time in the theatre. So get there early there are many things to do. There are two major rules here-sever play with a prop and always check your prope before each show (luckily you got there before "half-hour"). Those two rules seem instantly understandable but are rarely followed. Follow them. The first night you discover the climactie letter in your pocket missing before your entrance, you'll understand There are sick days built into many contracts use them when you NEED to. M Libe and changes to the seript As the performance wears on, you may feel that you understand the character better than the playwright. You don't, so quit making up lines. Opening Night Congratulations! Have fun at the party but remember, you have a show tomorrow night. Marking Performance The Lone audience member today paid the same ticket price as the full house that loved your performance last night. You have a responsibility to all involved to perform the show as rehearsed and to do your best. If that doesn't way you, that lone wadience may be someone important in the business. Now, you're listening. Maintaining a Performance You can look at a long run either as a chore or the world's best acting class. You get to ply your craft and test your choices in front of an audience (Why did I get that laugh last night and not tonight?"). Quit complaining and stay fresh. There are worse things than having a job. Respect our final category is perhaps the most obvious and the most abused. Me appeal only to the best of reasons for having respect (Rennber, nothing spreads faster than your reputation) • For statt - They can hire you again For Crew - They can hurt you For Directors. They can make your life miserable • For Designere - They can make you look stupid • For Actor' quity - They can upotage you For Yourself - That means value your contribution to the show by following the above yidelines and taking care of yourself when rehearsing and performing. Keep healthy throughout the run You were chosen over many other actors for this role, respect yourselt and live up to everyone's belief in you. Actors' Equity Actors' Etiquette These guidelines are courtesy of the actors' Equity Education Department, membership should abide. Most of these you know they're just common sense to when you are lucky enough to work, follow these simple rules You've heard about it your whole life and being a professional means there are no exess or lateness to a rehearsal or performance. There are noments when a real crisis may disrupt you from your appointed arrival tine, so plan for those moments by arriving well before the designated time. Those extra minutes will allow more time for warm-up, build an ensemble, or get you in the right frame of mind. It Lateness is truly unavoidable, you must call your stage manager funny, they're never late) and let him or her know your expected arrival time Read What You Siga Even though Iquity's major benefits are our negotiated contracts, business representatives, and member services, read everything you are asked to sign, even from Iaity. Rehearsals For many, this is the most exciting time of being in a show. Take time to explore your character (why do you cross on that line?), fine-tune stage business or justify your choreography. Even if you can't wait to get in front of an audience, let those actors who love it, relish it. Cell Phones Turn them off when entering & rehearsal or performance space. There are appropriate time to use then, so hang up! Notes Getting The Always be gracious, even if you disagree. Say "Thank you" after the director gives you the note, or "Hay we speak about this later if you don't understand or disagree. The sote session is not therapy for your character, but rather session of quick fixes for many elements of the show. Find time for you and the director to solve that affect you or your character only. Giving Then NEVER, did you read that never give another actor notes and never allow yourself to receive notes from another actor. A response could be, "Thanks for your help, but I think it's best we do this kind of thing through the stage manager or director. There is no room for flexibility here. Wouldn't you resent It? Costume Pitting costume fittinge are tricky. Let the designer know your concerne but avoid doing Mis or her job. Too much unwanted advice to a designer, and you could end up in a tube top or out of a job. You know its wrong. Me heard you say it. Quiet! Gossip As you learned in the last rule, sometimes keeping your mouth shut is a good thing. We will expand on that thene-keep the noise down when you are backstage. Avoid ali talking and/or whispering some theatres actually do have good acousties. Keep your voice and laughter down even when in the dressing roon. Like the song ways, ilush, hush. Keep it down now. Voices carry." Tech Hebearsals You know what we're going to say, right? That is the only time the designers get to fine tune their work with you there. lio, pay attention. Don't disrupt their rehearsal and stay close to the stage, because they're always going to go back a few scenes when they resume. Backstage Drama Just because we play dramatic characters onstage does not mean we must portray them off. When you are in a show, the theatre becomes a tiny universe. Remember, it is temporary, and there is a real world outside those theatre doors. Don't be a
User generated content is uploaded by users for the purposes of learning and should be used following Studypool's honor code & terms of service.

This question has not been answered.

Create a free account to get help with this and any other question!

Similar Content

Related Tags