Technique and Impulse: a Practical Approach
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UNLV Retrospective Theses & Dissertations 1-1-1999 Technique and impulse: A practical approach Thomas Carl Turner University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Turner, Thomas Carl, "Technique and impulse: A practical approach" (1999). UNLV Retrospective Theses & Dissertations. 988. http://dx.doi.org/10.25669/rgja-jgtn This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. 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NOTE TO USERS This reproduction is the best copy avaiiable UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TECHNIQUE AND IMPULSE: A PRACTICAL APPROACH by Thomas C. Turner Bachelor of Fine Arts Northern Kentucky University 1992 A thesis submitted in partial fulfillment of the requirements for the Master of Arts Degree Department of Theatre University of Nevada, Las Vegas Graduate College University of Nevada, Las Vegas May 1999 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1394819 UMI Microform 1394819 Copyright 1999, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Thesis Approval UNIV The Graduate College Universitv^ of Nevada, Las Vegas A p r il 23_________ 1 9 99 The Thesis prepared by Thomas C. Turner Entitled Acting Technique and Impulse: A Practical Approach is approved in partial fulfillment of the requirements for the degree of ________ Master Of Arts Degree______________________ Examination ConnnitiLV Chair Dean o f the Cradimte College Examination Committee Menÿtef Exàmination Cqmmittee Member Graduate College Facuifi/^epresentative 11 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT Acting Technique and Impulse: A Practical Approach by Thomas C. Turner Prof. Joe Aldridge, Examination Committee Chair Interim Chair, Department of Theatre University of Nevada, Las Vegas Acting technique and impulse must be blended to give a complete performance. In this thesis, I will explore the relationship between acting technique and impulse in vocal work, stage combat, script exploration, and truth. Ultimately, I hope to prove the necessity of both in all of the above areas. Lastly, I will describe a series of exercises that, I believe, can lead to the blending of technique and impulse. Ill Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ABSTRACT.................................................................................................................................... in CHAPTER I INTRODUCTION....................................................................................................I History of the Art ....................................................................................................................... I Discoveries of a Disciple ..........................................................................................................3 CHAPTER n VOICE & SPEECH.............................................................................................10 CHAPTER m STAGE COMBAT............................................................................................ 22 CHAPTER IV GIVEN CIRCUMSTNCES & TRUTH..........................................................30 CHAPTER V EXERCISES........................................................■................................................ 39 The Toilet Paper Game ...........................................................................................................39 The Machine Game ................................................................................................................. 40 The Machine Game II .............................................................................................................41 The Machine Game DI ............................................................................................................42 Fractured Fairytales ................................................................................................................ 43 Duck Duck Goose, Mother May I, Red Light-Green Light ..............................................44 Monologues & Music .............................................................................................................46 The 5-Minute Acting Lesson .................................................................................................47 Further Applications ...............................................................................................................48 A PPEN D ICm S..............................................................................................................................51 Permission to Quote Copyrighted Material 1 ......................................................................52 Permission to Quote Copyrighted Material II .....................................................................53 REFERENCES..............................................................................................................................55 VITA ................................................................................................................................................57 IV Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 1 INTRODUCTION History of the Art In the beginning, there was Thespis. And Thespis begot Quintilin of Rome who begot Aaron Hill of England, who begot Delsarte of France and Delsarte was misunderstood and misrepresented. This caused many an actor to gesture and flail. So, the mighty god of theatre, Dionysus, sent his only son to earth. His name was Constantin Stanislavski of Russia. Stanislavski took all that was good in the actor and recorded it in three volumes: An Actor Prepares. Building a Character, and Creating a Role. These books became the bibles of acting and were carried across the great ocean by Stanislavski and his disciples of the Moscow Art Theatre. There, in the new land called the United States of America, Stanislavski converted a new group of followers to his magical “system”. Three of these followers-Lee Strasberg, Cheryl Crawford, and Elia Kazan- founded a new “church” in honor of the teachings of Stanislavski. They called it The Actor’s Studio and, from this church, other great leaders rose to continue the teachings the “method” put forth. Among these new instructors were Stella Adler, Sanford Meisner, and Uta Hagen. At home, in Moscow, one dared to question the teachings of the profit of Dionysus. He claimed the Stanislavski “method” was not the true path to enlightenment and that there were other ways. This man was Stanislavski’s favorite disciple, Vsevold Meyerhold. Meyerhold claimed to have a vision given to him by Dionysus and that the Reproduced