Acting Methods Through Video for the Novice and Veteran Actor
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PGIP Programme in Detail Rev 3 20
!1 of !6 Giles Foreman Centre" for Acting A LEADING PROFESSIONAL ACTING STUDIO, "BASED IN THE HEART OF SOHO " " " ACTOR TRAINING | FILM & TV PRODUCTION | CORPORATE" COMMUNICATION LONDON | NEW" YORK | PARIS "" What" makes the GFCA 16-month advanced Professional Intensive " Acting/Acting-Directing Programme unique? Our Advanced course is equivalent in level to Post Graduate study. However, the training is designed for those creative individuals - from any background - who have the capacity, ability and motivation to enter the Industry. The programme involves 30+ hours of intensive classes and rehearsal exercises per week, taught by top- level specialist coaches, each with extensive professional experience. There are in-house showings throughout the course, and plays are presented to the public and Industry during the final two terms. During the final term, as well as advanced-level classes, students may join the Spotlight Casting Graduate scheme; scenes are filmed for showreel, there are Industry events, and a range of further performance opportunities. These continue after the conclusion of the formal training. We take only a single cohort of Intensive-Route acting students each year, to provide a focussed training designed to bring out individual strengths, and we welcome applications from people from a wide variety of previous backgrounds and experience. The programme is tailored towards the unique mix of talent drawn to our centrally-located Studio from across the UK, Europe and beyond. We have excellent links with UK and European Casting Directors, as well as a base in New York, and ofer many opportunities to showcase talent to European casting directors, largely due to the strong connections formed by our Director, Giles Foreman and his extensive work as a film acting-coach. -
BACKSTORY: the CREDITS an Actor
BACKSTORY Your behind-the-scenes look at TimeLine productions YESTERDAY’S STORIES. TODAY’S TOPICS. From Artistic Director PJ Powers a message Dear Friends, that their “Person of the — can influence history is made With his blend of social classic for the ages. You just Year” was You. Me. Us. The through activism, be On behalf of TimeLine’s not only in commentary and might be surprised that the average citizen. it personal, social or entire company, I am government emotional complexity, age in which it was written political. thrilled to welcome you to Admittedly, upon first buildings and Odets revolutionized the really is not our own! our 11th season! Each year hearing that, I thought There are many complex at corporate American theater during As we usher in a second we go through a series of it was a poor excuse for issues — not the least of board tables, but in the The Depression by putting decade of making history at discussions about the issues not choosing a person of which will be a Presidential homes and workplaces of the struggles and longings TimeLine, we’re delighted and types of stories we national prominence — a election — that will demand people like you and me. of everyday citizens on the to share another Odets stage. With Paradise Lost, want explore, and this year single someone who had great thoughtfulness in the We begin our season-long play with you. With much he gives voice to those our deliberations seemed made a sizeable imprint on coming year. Each of us will conversation by revisiting to discuss, I hope our little individuals and exposes a even more extensive and issues of global importance. -
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 -
More Than Repetition: Meisner and BA Performance Training
Theatre/Practice: The Online Journal of the Practice/Production Symposium of the Mid America Theatre Conference Volume 6, 2017 More Than Repetition: Meisner and BA Performance Training By Dennis Schebetta Introduction The Meisner technique has been taught successfully as a concentrated two-year sequence in private studios and MFA programs across the country. But is Meisner an “all-or- nothing” approach, or is “a little Meisner” better than none at all? As Head of MFA Performance Pedagogy and Assistant Professor at the University of Pittsburgh, I began to revise the undergraduate BA acting curriculum in 2014. The curriculum was primarily a Stanislavski-based training with some integration of Uta Hagen. More advanced acting classes examined heightened language and played with “styles,” using textbooks that seemed outdated. As there had been transitions in the faculty of the performance area of the department, many instructors taught from different methods; therefore, there existed an inconsistency of concepts and terminology throughout our courses. My primary goal in revising the curriculum was to give students a solid foundation of skills and maintain consistency throughout their educational journey. As my background was training in Meisner as well as other physical techniques, I searched for ways of incorporating multiple techniques in order to give students multiple entries into their craft. While doing so, I had several questions about integrating Meisner’s exercises with other techniques. Is it beneficial to use only his Word Repetition -
The Michael Chekhov Technique: in the Classroom and on Stage
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2010 The Michael Chekhov Technique: In The Classroom and On Stage Josh Chenard Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/71 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Introduction We are trying to find the technique for those gifted actors who want to consciously develop their talents, who want to master their abilities and not flounder aimlessly, relying upon vague inspiration…(a technique which) will teach you to economize on time in preparing your part, but without succumbing to haste and deadening cliches. -Michael Chekhov David Mamet, in his book True and False, argues against the need for acting technique, especially those created by or derived from Constantin Stanislavski. “The organic demands made on the actors,” he states, “are much more compelling…than anything prescribed or forseen by this or any other ‘method’ of acting. (Mamet 6)” Stella Adler, arguably one of the most important acting teachers of the 20th Century, agreeing with Mamet, stating “The classroom is not ideal…I learned acting by acting.(Adler 11)” These sentiments are echoed and argued in academia as well as in the professional theater world begging the questions: do actors require a technique? Is it necessary? Is it important? My answer to these questions is an immediate and unabashed YES. -
Teaching Resume
RYAN LEE RL THEATRE EDUCATOR WWW.RYANLEETHEATRE.COM OVERVIEW TEACHING PHILOSOPHY Expertise in all aspects of No matter what age or skill level, I approach the student with teaching and coaching acting respect, professionalism, and a gentle hand, which establishes a and performance for theatre, safe environment where creativity and exploration can flourish. film, and television, assisted I find that acting is most interesting when we bring our own lives college applicants with and experience to the work. We then bring to the material truth, university theatre program originality, joy, and honesty that is exciting for both performer to auditions, aspiring child audience to experience. actors ages 9 and up, as well as classes just for fun at every level – from beginning to TEACHING ENVIRONMENTS professional. Teaching environments have included: - University Adjunct Professor - Private Coaching - Professional Acting School - Teaching Artist - Master Class Lecturer - Artistic Director of Theatre Education Program [email protected] 323.972.7533 WORK EXPERIENCE TEACHING ARTIST • QUEENS THEATER • NEW YORK, NY • 2006 – 2018 - Through writing and acting exercises, taught students to create and perform an original play - Created and maintained a curriculum and lesson plan for a twenty-session theatre residency TEACHING ARTIST • LEAP • NEW YORK, NY •2010 – 2018 - Classes including test taking skills, music, playwriting, and theater in over thirty NYC schools ARTISTIC DIRECTOR • LEAP • NEW YORK, NY •2006 – 2010 - Oversaw and maintained the production -
THE PATH of the ACTOR 6 7 8 9 1011 1 2 13111 Michael Chekhov, Nephew of Anton Chekhov, Was Arguably One of the Greatest 4 Actors of the Twentieth Century
1111 2 3 4 51 THE PATH OF THE ACTOR 6 7 8 9 1011 1 2 13111 Michael Chekhov, nephew of Anton Chekhov, was arguably one of the greatest 4 actors of the twentieth century. From his time as Stanislavsky’s pupil, followed 5 by his artistic leadership in the Second Moscow Art Academic Theatre, his 6 enforced emigration from the Soviet Union and long pilgrimage around 7 Europe, to his work in Hollywood, his life has made a huge impact on the 8 acting profession. Chekhov’s remarkable actor-training techniques inspired many Hollywood 9 legends – including Anthony Hopkins and Jack Nicholson – and his tech- 20111 niques remain one of the theatre’s best kept secrets. 1 This first English translation of Chekhov’s autobiographies combines The 2 Path of the Actor, from 1928, and extensive extracts from his later Life and 3 Encounters. Full of humorous and insightful observations involving promi- 4 nent characters from Moscow and the European theatre of the early twentieth 5111 century, Chekhov takes us through events in his acting career and personal 6 life, from his childhood in St Petersburg until his emigration from Latvia and 7 Lithuania in the early 1930s. 8 Chekhov’s witty, penetrating (and at times immensely touching) accounts 9 have been edited by Andrei Kirillov, whose extensive and authoritative notes 30111 accompany the autobiographies. Co-editor, Anglo-Russian trained actor, Bella 1 Merlin, also provides a useful hands-on overview of how the contemporary practitioner might use and develop Chekhov’s ideas. 2 The Path of the Actor is an extraordinary document that allows us unprece- 3 dented access into the life, times, mind and soul of a remarkable man and a 4 brilliant artist. -
Dirección De Actores a Través De La Técnica Meisner”
UNIVERSITAT POLITÈCNICA DE VALÈNCIA ESCOLA POLITE CNICA SUPERIOR DE GANDIA Grado en Comunicación Audiovisual “Dirección de actores a través de la Técnica Meisner” TRABAJO FINAL DE GRADO Autor/a: Claudia Albina Estrada Tarascó Tutor/a: Beatriz Herráiz Zornoza GANDIA, 2019 NOTA DE AGRADECIMIENTOS A Laura Moise por descubrirme la Técnica Meisner. Y, sobre todo, a la actriz Marta García y al actor Raúl Gómez por implicarse en este bonito proceso y confiar en mi como directora. 2 Resumen Este trabajo se presenta como una investigación experimental en el ámbito de la dirección de actores. Está basado en la Técnica Meisner y se aborda desde la práctica, aunque sustentado desde la teoría. Con un guion, de creación propia, se ha dirigido a dos actores que carecían de conocimientos previos. Durante el proceso de ensayos, registrado tanto por vídeo como por escrito, se ha realizado un profundo análisis sobre cómo de efectiva ha sido la técnica en los actores y cómo han ido evolucionado. Palabras clave Dirección, actores, técnica, Meisner, ensayos Abstract This work is presented as an experimental investigation in the field of the direction of actors. It is based on the Meisner Technique and is approached practically, although backed up by theory. A self-written script was used to direct two actors who lacked prior knowledge of the technique. During rehearsals, recorded both by video and in writing, a thorough analysis was made into how effective the technique had been in the actors and how they have developed. Keywords Direction, actors, technique, Meisner, rehearsals 3 ÍNDICE 1. INTRODUCCIÓN ................................................................................................................... 5 1.1. -
Curriculum Vitae Jim Vanvalen Associate Professor of Theatre & Head of Acting Actors’ Equity Association CONTACT
Curriculum Vitae Jim VanValen Associate Professor of Theatre & Head of Acting Actors’ Equity Association www.jimvanvalen.com CONTACT Address: Cornell College 600 First Street SW Mt. Vernon, IA 52314 Phone: 319-895-4562 E-mail: [email protected] EDUCATION M.F.A., University of Iowa, 2007 Emphasis: Acting Thesis: “An Actor’s Process” -- An exploration of my process as a professional actor -- from preparation to performance -- and an examination of my discoveries and work over a ten-year period. Specific Training: Acting -- Stanislavski, Meisner, Period Styles Voice -- Berry, Rodenburg, IPA, Dialect Work Movement -- Stage Violence, Laban Effort-Shape Western Theatre History -- Classical to Romantic Periods M.A., Stony Brook University, 1996 Emphasis: Theatre Arts Thesis: “The Creation of a Father-Son Drama: Using the Psychological Theories of Samuel Osherson as a Structural Model” -- The construction of an original solo play entitled “Lullabyes” based on my response to the text Finding Our Fathers by Samuel Osherson. This study led to a full production of “Lullabyes” performed for the Stony Brook Arts Festival. B.A., Stony Brook University, 1992 Emphasis: English/Theatre Performance Magna Cum Laude SPECIALIZED TRAINING & CERTIFICATIONS . Meisner Teaching Certification with Larry Silverberg, 2014 True Acting Institute, Willamette University . Shakespeare’s Heightened Language Workshops I & II with Patsy Rodenburg, 2012-2013 Michael Howard Studios, NYC . DAH Theatre Movement Workshop with Dijana Milošević, 2010 ACM Performance Educators’ Conference, Coe College, IA . Linklater Intensive with Louis Colaianni, 2007 University of Iowa, IA . Dell’Arte 2-Day Workshop in Mask and Movement with Joan Schirle, 2006 University of Iowa, IA 1 TEACHING Associate Professor and Head of Acting, Cornell College Department of Theatre, 2007-present Undergraduate Courses and Descriptions: Basic Acting -- An introductory study of the work of the actor. -
All of the Apple Is Me: Process Work & Acting an Exploration & Practical Guide
All of the Apple is Me: Process Work & Acting An Exploration & Practical Guide Lisa Blair September 27, 2009 Process Work Institute Submitted in partial fulfillment of the Master of Arts in Process Work and the Diploma in Process Work All content and exercises are meant for individual use only and should not be duplicated or distributed for classroom or other use. Please do not make partial or complete copies of this manuscript without permission by the author. Copyright © 2009 2 If I compare myself to a large, meaty, round apple, I discover that my inner and outer cliché image of myself is only a wedge of it – possibly the wedge with the rosy cheek on the skin. But I have to become aware of myself as the total apple – the firm inner flesh as well as the brown rotten spot, the stem, the seeds, the core. All of the apple is me. ‐ Uta Hagen, Respect for Acting 3 4 Table of Contents Acknowledgements............................................................... 7 Introduction .......................................................................... 9 Act I: Acting Techniques for the Actor A Brief Overview of Theories of Acting................................. 23 Actor Preparation.................................................................. 43 Act II: Process Work Techniques for the Actor Identity.................................................................................. 51 Edgework .............................................................................. 57 The Killer .............................................................................. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
The Routledge Companion to Michael Chekhov. Edited by Marie- Christine Autant Mathieu and Yana Meerzon
BOOK REVIEWS The Routledge Companion to Michael Chekhov. Edited by Marie- Christine Autant Mathieu and Yana Meerzon. New York: Routledge, 2015. 434 pp. Reviewed by Conrad Alexandrowicz As I write this, I’m in the middle of rehearsals for Giraudoux’s The Madwoman of Chaillot at the University of Victoria’s Department of Theatre, in which I’m employing various key tools developed by Michael Chekhov over the course of his career as an actor, director, and visionary pedagogue. They include the Imaginary Body, Archetypal and Psychological Gestures, Atmospheres, and Qualities of Movement. It has been fascinating to read this wide-ranging and very thorough collection of essays by a host of renowned Chekhov scholars and practitioners in Europe, the UK, and the US while engaged in the process of introducing a cast of twenty young actors to what is for them an entirely new set of ideas and practices about acting and the theatre. My own exposure to Chekhov’s methods occurred in the summer of 2014 when I participated in the National Michael Chekhov Association’s (NMCA) annual Summer Training Intensive, held at the University of Southern Maine. Instructors and actors Lisa Dalton and Wil Kilroy, passionate, devoted and articulate adherents of Chekhov’s work, were mentored by the late Mala Powers, whose name appears frequently in this book; while working as an actor in Hollywood, she was taught and coached by the Russian master. I was struck by many things about the work: that it proceeds from the assumption that an actor is an artist, not merely a puppet; by its balance of methods that reveal meaning in both text and the body; and by its use of specific, sensible, and accessible tools in the creation of characters.