DOCSLIB.ORG

Day 11 Self Observation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Day 11 Self Observation Day 11 Self Observation A few weeks ago, I had surgery. During my recovery, I was paying attention to my body and all that it was going through and I was reminded just how important self-observation is for the actor. As an actor the greatest sources of information and inspiration are your life, your body, and your emotional states. You are experiencing things all the time and you must pay attention to them so you can sense how they feel and manifest themselves. This is a challenging task because we tend not to notice what is going on inside of ourselves unless things becomes extreme or chronic. So I want to encourage you to start paying attention to what is going on with you. And I want you to write it down because paying attention isn’t enough. Writing concretizes information, making it more real and useful than just looking at something and hoping that you’ll remember it. These self- observations of your experiences and emotions, physical sensations and musings, should be included in your actor’s journal where you write about all of the people and things you see that could become part of a characterization. So pay attention. Become an observer of yourself. Watch, listen, and feel what is going on inside of you and around you. By doing that you can have access to everything you will ever need as an actor. About Me Answer the following questions about yourself. Date ___________ Name ___________________________________________ Period ________ Age _______ Birth date ______________ Zodiac Sign ____________________ I was born in __________________, _____. Now I live at ____________________________________, in ____________________________, _____. I am ___________ tall and weigh around __________ pounds. My eyes are _____________________and my hair is _________________________. I am in the ________ grade. I am _________ handed. I have _____ brother(s) and _____ sister(s). People often say that I look __________________________________________________. I think I look __________________________________________________. My most common facial expression shows _________________________________________ . My Favorite My Least Favorite Color ____________________ _____________________ Saying ____________________ _____________________ Book ____________________ _____________________ Magazine ____________________ _____________________ Movie ____________________ _____________________ T.V. Show ____________________ _____________________ Piece of Music ____________________ _____________________ Piece of Art ____________________ _____________________ Food ____________________ _____________________ Drink ____________________ _____________________ My lucky number is ________ . The closest Person to me is ________________________________________ . The person I admire most is ___________________________________________________________ because ______________________________________________________________________ ________ __________ . I would like to be (a) __________________________________________________________ when I am older. My biggest fear is _________________________________________ . My strongest belief is _____________ ____________________________________________ . My favorite habit is ___________________________ _____________________ . My worst habit is ___________________________________________________. I am a __________________________________ person because I ___________________________________. If I were (a) _______________________________ I would ________________________________________. I used to _______________________________________, and now I _________________________________. People say that I am ____________________________________ because I ____________________________ _____________________________. I am always happy whenever I see _______________________________ ____________________. __________________________________________________________ upsets me a great deal. I find it easy to talk about__________________________________________________ but difficult to discuss ______________________________________________________________________ ___. If I wrote a story about my life it would be a __________________________________________________ . Day 12 & 13 PICTURE THIS Look carefully at the picture provided on the screen. Afterward, on the lines provided below, describe setting: Where and When (approximate place and time period); characters: People there or who might be there. ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ Now, using the information you got from the picture and your imagination, write a short scene using at least 2 of the characters you described in the setting shown. Be sure to have a Beginning, a Middle and an End to your scene/story. You may use need extra space to complete your scene. ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ Day 14 After reading the following story, answer TRUE, FALSE or NOT ENOUGH INFORMATION to the questions below. The Story A business man had just turned off the lights in the store when a man appeared and demanded money. The owner opened a cash register. The contents of the cash register were scooped up and the man sped away. A member of the police force was notified promptly. 1. A man appeared after the owner had turned off his store lights 2. The man demanded money. 3. The man who opened the cash register was the owner. 4. The store owner scooped up the contents of the cash register, and ran away. 5. Someone opened a cash register. 6. After the man who demanded the money scooped up the contents of the cash register, he ran away. 7. While the cash register contained money, the story does not say how much. 8. The story concerned a series of events in which only three persons are referred: the owner of the store; a man who demanded money, and a member of the police force. 9. The following events were included in the story: someone demanded money, a cash register was opened, its contents were scooped out, and a man dashed out of the store. 10. The robber was a man. 11. The robber demanded money of the owner. Day 15 Introduction to the Stanislavsky System of Acting Technique - The manner and ability with which an artist, writer, dancer, athlete, or the like employs the technical
Load more

Recommended publications
  • Blurred Lines Between Role and Reality: a Phenomenological Study of Acting
    Antioch University AURA - Antioch University Repository and Archive Student & Alumni Scholarship, including Dissertations & Theses Dissertations & Theses 2019 Blurred Lines Between Role and Reality: A Phenomenological Study of Acting Gregory Hyppolyte Brown Follow this and additional works at: https://aura.antioch.edu/etds Part of the Psychology Commons BLURRED LINES BETWEEN ROLE AND REALITY: A PHENOMENOLOGICAL STUDY OF ACTING A Dissertation Presented to the Faculty of Antioch University Santa Barbara In partial fulfillment of the requirements for the the degree of DOCTOR OF PSYCHOLOGY In CLINICAL PSYCHOLOGY by GREGORY HIPPOLYTE BROWN August 2019 This dissertation, by Gregory Hippolyte Brown, has been approved by the committee members signed below who recommend that it be accepted by the faculty of Antioch University Santa Barbara in partial fulfillment of requirements for the degree of DOCTOR OF PSYCHOLOGY Dissertation Committee: _________________________ Brett Kia-Keating, Ed.D. Chairperson __________________________ Sharleen O‘ Brien, Ph.D. Second Faculty __________________________ Thalia R. Goldstein, Ph.D. External Expert ii Copyright © 2019 Gregory Hippolyte Brown iii Abstract When an actor plays a character in a film, they try to connect with the emotions and behavioral patterns of the scripted character. There is an absence of literature regarding how a role influences an actor’s life before, during, and after film production. This study examined how acting roles might influence an actor during times on set shooting a movie or television series as well as their personal life after the filming is finished. Additionally the study considered the psychological impact of embodying a role, and whether or not an actor ever has the feeling that the performed character has independent agency over the actor.
    [Show full text]
  • Chapter 4: Acting
    096-157 CH04-861627 12/4/03 12:01 AM Page 96 CHAPTER ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ 4 Acting No role is too small. In this scene from Julius Caesar, the varied responses of the crowd members to Caesar’s death give the scene more depth. One can see Mark Antony, played by Al Pacino, judging the crowd’s mood and planning how to manipulate it. cting is a question of absorbing other Apeople’s personalities and adding some of our own experience. —PAUL NEWMAN, ACTOR 96 096-157 CH04-861627 12/4/03 12:02 AM Page 97 SETTING THE SCENE Focus Questions What special terminology is used in acting? What are the different types of roles? How do you create a character? What does it mean to act? Vocabulary emotional or straight parts master gesture subjective acting character parts inflection technical or objective acting characterization subtext leading roles primary source substitution protagonist secondary sources improvisation antagonist body language paraphrasing supporting roles So now you’re ready to act! For most students of drama, this is the moment you have been waiting for. You probably share the dream of every actor to create a role so convincing that the audience totally accepts your character as real, for- getting that you are only an actor playing a part. You must work hard to be an effective actor, but acting should never be so real that the audience loses the theatrical illu- sion of reality. Theater is not life, and acting is not life. Both are illusions that are larger than life.
    [Show full text]
  • TRAINING the YOUNG ACTOR: a PHYSICAL APPROACH a Thesis
    TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Anthony Lewis Johnson December, 2009 TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH Anthony Lewis Johnson Thesis Approved: Accepted: __________________________ __________________________ Advisor Dean of the College Mr. James Slowiak Dr. Dudley Turner __________________________ __________________________ Faculty Reader Dean of the Graduate School Mr. Durand Pope Dr. George R. Newkome __________________________ __________________________ School Director Date Mr. Neil Sapienza ii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION TO TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH...............................................................................1 II. AMERICAN INTERPRETATIONS OF STANISLAVSKI’S EARLY WORK .......5 Lee Strasberg .............................................................................................7 Stella Adler..................................................................................................8 Robert Lewis...............................................................................................9 Sanford Meisner .......................................................................................10 Uta Hagen.................................................................................................11 III. STANISLAVSKI’S LATER WORK .................................................................13 Tension
    [Show full text]
  • Editors' Preface Introduction
    Notes Editors’ Preface 1. Carey, Susan. The Origin of Concepts. Oxford: Oxford University Press, 2009, 4. 2. See Zunshine, Lisa. “What is Cognitive Cultural Studies?” Introduction to Cognitive Cultural Studies. Ed. Lisa Zunshine. Baltimore: Johns Hopkins University Press, 1. Introduction 1. Deborah Mayo, Interview with John Lutterbie, Stony Brook University, tape recording, July 3, 2003. 2. Ibid. 3. Margarita Espada, Interview with John Lutterbie, Stony Brook University, tape recording, June 30, 2003. 4. Ibid. 5. Ibid. 6. Margarita Espada, Interview with John Lutterbie, Stony Brook University, tape recording, February 4, 2002. 7. I bid. 8. Deborah Mayo, Interview with John Lutterbie, Stony Brook University, tape recording, December 5, 2001. 9. Ibid. 10. Ibid. 11. Deborah Mayo, Interview with John Lutterbie, Stony Brook University, tape recording, November 7, 2001. 12. See Patrice Pavis, Theatre at the Crossroads of Culture (London and New York: Routledge, 1991), 178–209. 13. Hubert L. Dreyfus and Stuart E. Dreyfus. Mind Over Machine: The Power of Human Intuition and Expertise in the Era of the Computer (New York: Free Press, 1986), 50. 14. Ibid., 30. 15. Ibid., 30–31. 16. Neil Young, “Harvest Moon.” http://www.lyricsfreak.com/n /neil+young/harvest+moon_20099104.html. March 14, 2011 234 NOTES 1 The Language of Acting 1. I saw an Irish dance performance in which a fiddler was given a standing ovation despite the obvious fact that the instrument had no strings . 2. See Helga Noice and Tony Noice. “Two Approaches to Learning a Theatrical Script.” Memory. 4, no. 1 (1996): 1–17; and Helga Noice and Tony Noice.
    [Show full text]
  • Rehearsing Emotions the Process of Creating a Role for the Stage
    ACTA UNIVERSITATIS STOCKHOLMIENSIS Stockholm Studies in Sociology New series 45 Rehearsing Emotions The Process of Creating a Role for the Stage Stina Bergman Blix ©Stina Bergman Blix and Acta Universitatis Stockholmiensis, Stockholm 2010 ISSN 0491-0885 ISBN 978-91-86071-41-7 Printed in Sweden by Universitetsservice US-AB, Stockholm 2010 Distributor: eddy.se ab, Visby, Sweden Front cover photos: To the left: An actor displaying grief by G.B. Duchenne, taken from “The Expression of Emotions in Man and Animals” by Charles Darwin (1872), reproduced by Jens Östman. To the right: An actor displaying grief © Stina Bergman Blix. In memory of my beloved sister Clara Contents Acknowledgements .................................................................................... xi Introduction ..................................................................................................1 1. Stage Actors, Roles and Emotions......................................................7 Dramaturgical Theory .................................................................................................7 Playing and Playing at ...........................................................................................8 The Relationship between Actor and Character ............................................10 Emotion Work in Role Playing............................................................................12 Double Agency ......................................................................................................19 Emotion Theory..........................................................................................................23
    [Show full text]
  • Emotion, Action and the Journey of Feelings in the Actor's Mournful
    The Lamenting Brain: Emotion, Action and the Journey of Feelings in the Actor’s Mournful Art Panagiotis Papageorgopoulos Department of Drama and Theatre Royal Holloway College University of London Submission for the degree of Doctor of Philosophy 2009 Page | 1 I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the qualification of any other degree or diploma of a University or other institution of higher learning, except where due acknowledgment has been made in the text. 1/12/2009 Panagiotis Papageorgopoulos Page | 2 ABSTRACT This thesis is motivated by the question of how and why actors perform and experience emotion, especially in cases when the emotional demands are as extreme and urgent as in Greek tragedy. In order to answer this question the thesis embarks on two main tasks: (a) to reappraise the position, function and technique of emotion in the work of four key practitioners of twentieth century Western acting (Stanislavski, Meyerhold, Brecht and Grotowski) from the point of view of contemporary neuroscience, and (b) to trace their original paradigm in the professional mourners’ psychotechnique of emotion, as found in ancient and modern Greek ritual lamentation for the dead. The first part of the thesis attempts to reread and reframe twentieth century western acting’s technique of emotion by adopting the radically new neuroscientific paradigm of emotion, which reappraises emotion as a catalytic faculty in the formation of motivation, decision-making, reasoning, action and social interaction.
    [Show full text]
  • The Role of Stanislavsky and the Moscow Art Theatre's 1923 And
    CULTURAL EXCHANGE: THE ROLE OF STANISLAVSKY AND THE MOSCOW ART THEATRE’S 1923 AND1924 AMERICAN TOURS Cassandra M. Brooks, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Olga Velikanova, Major Professor Richard Golden, Committee Member Guy Chet, Committee Member Richard B. McCaslin, Chair of the Department of History Mark Wardell, Dean of the Toulouse Graduate School Brooks, Cassandra M. Cultural Exchange: The Role of Stanislavsky and the Moscow Art Theatre’s 1923 and 1924 American Tours. Master of Arts (History), August 2014, 105 pp., bibliography, 43 titles. The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States in 1923 and 1924, and the developments and changes that occurred in Russian and American theatre cultures as a result of those visits. Konstantin Stanislavsky, the MAT’s co-founder and director, developed the System as a new tool used to help train actors—it provided techniques employed to develop their craft and get into character. This would drastically change modern acting in Russia, the United States and throughout the world. The MAT’s first (January 2, 1923 – June 7, 1923) and second (November 23, 1923 – May 24, 1924) tours provided a vehicle for the transmission of the System. In addition, the tour itself impacted the culture of the countries involved. Thus far, the implications of the 1923 and 1924 tours have been ignored by the historians, and have mostly been briefly discussed by the theatre professionals. This thesis fills the gap in historical knowledge.
    [Show full text]
  • Stanislavsky an Introduction – Jean Benedetti
    Jean Benedetti was born in 1930 and educated in England and France. He trained as an actor and teacher at the Rose Bruford College of Speech and Drama, returning in 1970 as Principal of the College until 1987. He is author of a number of semi-documentary television plays. His published translations include Brecht’s Edward II and A Respectable Wedding and Georges Michel’s A Sunday Walk. His first book was a biography of Gilles de Rais. In 1982 he published the first edition of Stanislavski: An Introduction, which has been reprinted many times. Stanisla- vski: A Biography was first published in 1988 and then revised and expanded. He subsequently published The Moscow Art Theatre Letters in 1991 and Dear Writer … Dear Actress, the love letters of Anton Chekhov and Olga Knipper, in 1997. Stanislavski and the Actor, an account of Stanislavski’s teaching in the last three years of his life, followed in 1998. From 1979 to 1987 he was chairman of the Theatre Education Committee of the International Theatre Insti- tute (UNESCO). He is currently Honorary Professor at both Rose Bruford College and Queen Margaret University College Edinburgh. Books by Stanislavski AN ACTOR PREPARES AN ACTOR’S HANDBOOK BUILDING A CHARACTER CREATING A ROLE MY LIFE IN ART STANISLAVSKI IN REHEARSAL STANISLAVSKI’S LEGACY STANISLAVSKI ON OPERA Books by Jean Benedetti STANISLAVSKI: HIS LIFE AND ART STANISLAVSKI & THE ACTOR THE MOSCOW ART THEATRE LETTERS DEAR WRITER, DEAR ACTRESS: THE LOVE LETTERS OF ANTON CHEKHOV AND OLGA KNIPPER Stanislavski An Introduction Jean Benedetti A Theatre Arts Book Routledge New York A Theatre Arts Book Published in the USA and Canada in 2004 by Routledge 29 West 35th Street New York, NY 10001 www.routledge-ny.com Routledge is an imprint of the Taylor & Francis Group.
    [Show full text]
  • Michael Chekhov and His Approach to Acting in Contemporary Performance Training Richard Solomon
    The University of Maine DigitalCommons@UMaine Electronic Theses and Dissertations Fogler Library 5-2002 Michael Chekhov and His Approach to Acting in Contemporary Performance Training Richard Solomon Follow this and additional works at: http://digitalcommons.library.umaine.edu/etd Part of the Performance Studies Commons Recommended Citation Solomon, Richard, "Michael Chekhov and His Approach to Acting in Contemporary Performance Training" (2002). Electronic Theses and Dissertations. 615. http://digitalcommons.library.umaine.edu/etd/615 This Open-Access Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of DigitalCommons@UMaine. MICHAEL CHEKHOV AND HIS APPROACH TO ACTING IN CONTEMPORARY PERFORMANCE TRAINING by Richard Solomon B.A. University of Southern Maine, 1983 A THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts (in Theatre) The Graduate School The University of Maine May, 2002 Advisory Committee: Tom Mikotowicz, Associate Professor of Theatre, Advisor Jane Snider, Associate Professor of Theatre Sandra Hardy, Associate Professor of Theatre MICaAEL CHEKHOV AND HIS APPROACH TO ACTING IN CONTEMPORARY PERFORMANCE TRAINING By Richard Solomon Thesis ~dhsor:Dr. Tom Mikotowicz An Abstract of the Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (in Theatre) May, 2002 Michael Chekhov was an actor, diuector, and teacher who was determined to develop a clear and accessible acting approach. During his lifetime, his ideas were often viewed as too radical and mystical. Over the past decade however, the Chekhov method of actor training has enjoyed an expansion of interest.
    [Show full text]
  • An Actor Remembers: Memory's Role in the Training of the United States
    An Actor Remembers: Memory’s Role in the Training of the United States Actor by Devin E. Malcolm B.A. in The Human Drama, Juniata College, 1997 M.A. in Theatre, Villanova University, 2002 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Theatre History and Performance Studies University of Pittsburgh 2012 UNIVERSITY OF PITTSBURGH Dietrich School of Arts and Sciences This dissertation was presented by Devin E. Malcolm It was defended on November, 5th 2012 and approved by Kathleen George, PhD, Theatre Arts Bruce McConachie, PhD, Theatre Arts Edouard Machery, PhD, History and Philosophy of Science Dissertation Advisor: Attilio Favorini, PhD, Theatre Arts ii Copyright © by Devin E. Malcolm 2012 iii AN ACTOR REMEMBERS: MEMORY’S ROLE IN THE TRAINING OF THE UNITED STATES ACTOR Devin E. Malcolm, PhD University of Pittsburgh, 2012 This dissertation examines the different ways actor training techniques in the United States have conceived of and utilized the actor’s memory as a means of inspiring the actor’s performance. The training techniques examined are those devised and taught by Lee Strasberg, Stella Adler, Joseph Chaikin, Stephen Wangh and Anne Bogart and Tina Landau. As I shall illustrate, memory is not the unified phenomenon that we often think and experience it to be. The most current research supports the hypothesis that the human memory is composed of five distinctly different, yet interrelated systems. Of these five my research focuses on three: episodic, semantic, and procedural.
    [Show full text]
  • The Spectator and Dialogues of Power in Early Soviet Theater By
    Directed Culture: The Spectator and Dialogues of Power in Early Soviet Theater By Howard Douglas Allen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Sociology in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Victoria E. Bonnell, Chair Professor Ann Swidler Professor Yuri Slezkine Fall 2013 Abstract Directed Culture: The Spectator and Dialogues of Power in Early Soviet Theater by Howard Douglas Allen Doctor of Philosophy in Sociology University of California, Berkeley Professor Victoria E. Bonnell, Chair The theater played an essential role in the making of the Soviet system. Its sociological interest not only lies in how it reflected contemporary society and politics: the theater was an integral part of society and politics. As a preeminent institution in the social and cultural life of Moscow, the theater was central to transforming public consciousness from the time of 1905 Revolution. The analysis of a selected set of theatrical premieres from the Bolshevik Revolution in 1917 to the end of Cultural Revolution in 1932 examines the values, beliefs, and attitudes that defined Soviet culture and the revolutionary ethos. The stage contributed to creating, reproducing, and transforming the institutions of Soviet power by bearing on contemporary experience. The power of the dramatic theater issued from artistic conventions, the emotional impact of theatrical productions, and the extensive intertextuality between theatrical performances, the press, propaganda, politics, and social life. Reception studies of the theatrical premieres address the complex issue of the spectator’s experience of meaning—and his role in the construction of meaning.
    [Show full text]
  • 'Dead Pet Acting': Legacies of Stanislavsky
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals... More than ‘Dead Pet Acting’: Legacies of Stanislavsky IAN MAXWELL It is easy to misunderstand Konstantin Stanislavsky.1 He is reviled by the left, champions of Brecht, for his bourgeois humanism; ignored by the post- structuralists, champions of Artaud, for his arch-modernism; claimed by the psychoanalysts of the Actors Studio as the inventor of the Method. His achievements are rendered as a unified, completed corpus—a theory— characterized in uncomplicated opposition to the equally unproblematized “theory” of his compatriot, collaborator and friend, Vsevolod Meyerhold. Meyerhold’s topography of the actor, goes the story, followed the logic of the (William) Jamesian schema (famously: “I saw the bear, I ran, I felt afraid”) to produce an “outside-in”, “physical” theory of acting. Stanislavsky, in contrast, worked from the inside out, producing a “psychological” theory of acting; the theory that, notwithstanding the political/formalist diversions of Brecht, won out in the grand narrative of theatre history.2 In fact, Stanislavsky only reluctantly committed his work to the page. His first book, the autobiographical My Life in Art, was published in 1924 in response to the success of his company’s American tours of 1923 and 1924; the second, An Actor Prepares, was written as the first of what Stanislavsky expected to be a seven book magnum opus, and published posthumously in 1936. The other English-language publications bearing his name—Building a Character and Creating a Role 3—are better read as collections of drafts and notes, rather than the explication of a single model.
    [Show full text]