Chapter Four-Acting
description
Transcript of Chapter Four-Acting
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Chapter Four-ActingChapter Summary
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Subjective/Emotional Acting
Actor tries to really live the part and feel the emotions of the character internally as much as possible.
The Actor works for emotional honesty for every moment of the play
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Objective/Technical Acting
Actor uses his learned technique and great attention to the text to create a character that appears to be as real as possible, but does not really emotionally try to recreate the character internally
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Constantine Stanislavski
Russian theatre director and innovator who developed a new style of approaching acting by creating a “method” approach to playing a character. This involved “emotional memory” recalling emotions you have felt and applying them to a moment and “the magic if” – How would you react if this happended to you
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Questions and actor should Ask
What is the immediate environment/ What are my objectives/ What are my relationships and how do others
relate to me? What are the emotional signposts for my
character? How smart is my character What is my character’s origins geographically What are my character’s problems, strengths,
weaknesses and strategies
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The Sixteen Keys to Characterization
1. Internalizing- a deep personal understanding of character
2. Externalizing- Making that visible to audience3. Concentration- focusing on the moment in the play4. Observing- watching others to learn character traits5. Emotional memory- using past experience to find
emotion in play6. Projecting- Not only volume but your character’s life
projected7. Motivating- the why of characterization
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16 keys continued8. Stretching a character- making a character unique and interesting9.Consistant inconsistancy – a trait that identifies you character10. Playing the conditions- focusing on the environmental and
psychological elements of the play11.Playing the objectives- Playing your character’s goals and ways
and means of getting what they want12. Playing the obstacles- Playing with the things that prevent the
character from getting what they want13. Playing the object- Using props or stage objects to identify
character moments
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Keys continued14. Energy – the fuel that drives the
character. 15. Focus – the ability to direct your
energy to specific targes16. Uniqueness - Making the part an
original and not copying or imitatin other interpretations of the role
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Some Terms Master Gesture – a signature gesture a character
does that helps identify them. Leading Center- the part of you body that leads
and demonstrates physical characterization Cross and counter-cross- a cross is an actor
moving in front of another…a counter cross is the other actor adjusting to the cross of the first actor
Stage business- the way you deal with props on stage
Subtext- The meaning behind what you say
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Do’s of Stage Movement
Use hand nearest hinges to open a door Enter the stage with upstage foot and and stand with
upstage foot ahead of downstage foot, Move forward on upstage foot
Cross upstage of seated characters Make gestures with upstage hand Sit with feet and knees together Stay in character before and after entrance until out of
view of all of the audience
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Don’t of stage movement
Stand in an exit or in front of lighting Don’t move during another’s lines unless directed to
do so Don’t cover you face with you hands or a prop Don’t stand with your legs crossed or knees together
unless your character would do that Don’t grab to arms of a chair to rise unless you are old
or you character would do that
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Stage Positions Cheat out- Turning you body ¾ to audience to
share the scene Giving the scene – Crossing downstage to
give focus to someone else. Turning the scene in- a group of actors
turning bodies to a focused player or moment Taking yourself out of a scene- Turning you
back to the audience
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Stage Combat/Kiss Should be rehearsed constantly and frequently The three stages of most combat are
The preparation The Blow The reaction
The Stage Kiss stages Foot position Correct body position Exact time count A smooth break
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Inflection Rising inflection- shows questioning,
surprise and shock Falling inflection- end of statement,
depression, finality, firmness Sustained inflection – command,
calmness, decisiveness Circumflex inflection- emphasizing
vowels to give a special or double meaning or subtextrual meaning to the expression
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Memorization Whole/part – An actor becomes very
familiar with the play and its meaning and learns lines by analying why he says what he says and focusing on the word to word accuracy later.
Part/whole- Learning lines by memorizing little segments at a time by rote memorization.
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Playing Comedy Comedy relies on timing and physical detail Some techniques include
Lift end of punch line, Clutch the punchline with a facial or
physical marker Play off the lead of your partners
Don’t cut off the audience laughter..use the laugh curve to know when to come in with the next line
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Accents Learning a regional accent is a
challenge that you can accomplish by ear training or by phonetically breaking down your lines
Phonetics is a way of defining pronunciation with markers
It is useful to get recordings of the accent you need to use
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Stages Proscenium- The picture window with the
stage behind the “fourth wall” Thrust – Audience is on three sides of stage Arena and Round- Audience is on all sides
of the stageNon-conventional- Stage is placed in unusual
areas so audience may have to turn look in corners for the action.