Diffuse, Divide, Devise: an Analytical Study of Devised Theatre
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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 -
I Acknowledgements This Dissertation Is Not As Well
Acknowledgements This dissertation is not as well written as I may wish, and my learnings not as explicit as I might wish, but the value this project has for me I will carry with me forever, and it will always be informing my engagement with the world around me. So Id like to start with “thank you.” To Ørjan Hattrem for having faith enough to invite me into his exiting school, to all the teachers and staff at HiNT for their warmth and generosity, to the class of 2014 for me to research with them, and to NTNU. Putting me through this project forced me to undertake a journey I was perhaps not prepared to take. I want to make particular mention of Associate Professor Ellen Foyn Brunn, who has led me to a place where I have been able to challenge my presumptions regarding academia, my own ability to express myself, and I now realize she has always been one (or many) steps ahead of me, waiting patiently for me to catch up with my own project. I would also like to make particular mention of Associate Professor Sandra Mladenovitch who taught me more than I can ever express on theatre pedagogy, how to work with actors, and how to think in and of rehearsals. For you two thank you is not enough for what my body feels. Because of them I have been able to undertake a project that has led me to unexpected places, and I have gained insights that will for ever inform my practices not only as director or researcher but as human being too. -
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. -
Arts Vivants Asbl
arts vivants asbl presents its first workshop for actors and actresses: Introduction to the Meisner Technique with Irina Casali on 12 & 13 October 2013 from 10am to 5 pm at the Banannefabrik | 12, rue du Puits | L-2355 Luxembourg-Bonnevoie The Meisner technique is an acting technique developed by the American theatre practitioner Sanford Meisner. Sandy Meisner developed this technique after working with Lee Strasberg and Stella Adler at the Group Theatre and as head of the acting program at New York City's Neighborhood Playhouse and continued its refinement for fifty years. By the 1990's, The Meisner Technique had trained a number of generations of actors, including Robert Duvall, Gregory Peck, Bob Fosse, Jon Voight, Jeff Goldblum, Grace Kelly, Diane Keaton, and others. Today the Meisner Technique has become the dominant acting technique among successful film and television actors and almost every acting school in California began to offer some kind of Meisner training. Acting is doing & meaningful acting is doing under emotional and truthful circumstances. Have a way of doing. BE SPECIFIC! Sandy Meisner Irina Casali Recently graduated from the Meisner Technique taught by Larry Silverberg, Irina is the artistic director of the ALA ACTING LANGUAGES ACADEMY in Milan. As an actress and stage director, she participated in many festivals across the world. Irina received a Silver Medal form the President of the Italian Republic in 2005 for the play “HACI GUIGO: 8.15”, which she wrote and directed. She has been an acting teacher for 20 years. She works with the Meisner Technique which she learned from her father (who assisted lessons of William Layton), Tom Radcliffe, Simon Furness and Gary Condes with whom she trained at the “Actor’s Temple” in London. -
THE LIVING THEATRE & SYMBOLIC CAPITAL By
OVERTURNING MAMMON: THE LIVING THEATRE & SYMBOLIC CAPITAL by Peter Wood BA, Rhode Island College, 2000 MA, University of Maryland, 2004 Submitted to the Graduate Faculty of Te Dietrich School of Arts & Sciences in partial fulfllment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE DIETRICH SCHOOL OF ARTS & SCIENCES Tis dissertation was presented by Peter Wood It was defended on March 3, 2016 and approved by Peter Karsten, Professor, History Lisa Jackson-Schebetta, Assistant Professor, Teatre Arts Dissertation Co-Advisor: Michelle Granshaw, Assistant Professor, Teatre Arts Dissertation Co-Advisor: Bruce McConachie, Professor Emeritus, Teatre Arts ii Copyright © by Peter Wood 2016 iii OVERTURNING MAMMON: THE LIVING THEATRE & SYMBOLIC CAPITAL Peter Wood, PhD University of Pittsburgh, 2016 Abstract: Overturning Mammon: Te Living Teatre and Symbolic Capital focuses on the frst thirteen years of the Living Teatre, founded by Judith Malina and Julian Beck. Pierre Bourdieu’s theories of cultural production provide the theoretical tools to approach the company as a cultural producer and not only as theatre artists. Te Living Teatre has produced largely unpopular avant-garde and political theatre for seventy years. I argue that the company’s early years demonstrate a growing reserve of symbolic capital that helps explain the company’s longevity. Furthermore, the manner in which certain events in the company’s history have been mythologized, by company members, critics, and scholars, has led to some historically inaccurate accounts. In particular, accounts of the closing of the company’s production of Te Brig in 1963 and the subsequent trial of Beck and Malina in 1964 have often been infuenced by an acceptance of company member’s anecdotal, “tall tales” approach to history rather than historical evidence and archival documents. -
Curriculum Vitae
Curriculum Vitae Elizabeth Mozer Assistant Professor of Theatre Binghamton University Department of Theatre, Fine Arts 127, PO Box 6000, Binghamton NY 13902-6000 917.703.5750 / [email protected] www.theatreintheflesh.net EDUCATION M.F.A. – Theatre: Performance Pedagogy 2012 University of Pittsburgh Thesis: “Embodied Acting – A Synthesis of the Actor Training Approaches of Sanford Meisner and Stepehen Wangh – An Original Course" Full Merit Scholarship and Teaching Assistantship, MFA Teaching Award Nominated for Elizabeth Baranger Excellence in Teaching Award Stephen Coleman, Holly Thuma, Bruce McConachie, Lisa Jackson-Schebetta B.A. – Dance (political science minor) 1982 S.U.N.Y. College at Brockport Summa Cum Laude, Rose Strasser Award (Service and Achievement) Anna Sokolow, Garth Fagan, Susannah Newman PROFESSIONAL ORGANIZATIONS Screen Actors Guild - American Federation of Television and Radio Artists Actors Equity Association American Guild of Variety Artists Association for Theatre in Higher Education Association of Theatre Movement Educators International Somatic Movement Education & Therapy Association Network of Ensemble Theatres AWARDS, FELLOWSHIPS AND HONORS Artist Space Grant - Stella Adler Studio of Acting Winter 2017 Conference Presentation Travel Grant - Binghamton University Summer 2017 Creator in Residence – Earthdance Fall 2016 Dean’s Research Semester Award - Binghamton University Fall 2016 Integrated Artist Fellowship - Association of Theatre Movement Educators Summer 2016 CV Mozer 1 Artist Space Grant - Stella Adler -
The Phenomenology and Dramatic Platonism of Meisner Technique As Refined And
THE LABOR OF ACTION FOR THE OPERATION OF TRUTH: THE PHENOMENOLOGY AND DRAMATIC PLATONISM OF MEISNER TECHNIQUE AS REFINED AND EXTENDED BY WILLIAM ESPER A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By THEODORE DAVID MARCIA Dr. David A. Crespy, Dissertation Supervisor December 202012 © Copyright by Theodore David Marcia 2012 All rights reserved The undersigned, appointed by the dean of the Graduate School, have examined the Dissertation entitled THE LABOR OF ACTION FOR THE OPERATION OF TRUTH: THE PHENOMENOLOGY AND DRAMATIC PLATONISM OF MEISNER TECHNIQUE AS REFINED AND EXTENDED BY WILLIAM ESPER Presented by Theodore David Marcia A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Dr. David A. Crespy Dr. Cheryl Black Dr. Joseph Bien Dr. Catherine Gleason DEDICATION To my mother, Vaughn Dean Williamson-Marcia ACKNOWLEDGEMENTS The phenomenology of a dissertation is strange; the thing itself is predominately created in solitude, yet it wouldn’t exist at all without the assistance and inspiration of innumerable people. First of all I would like to thank the members of my committee. Dr. David Crespy has been a friend and mentor for the majority of my adult life and continues as such and more as the chair of my dissertation committee. He is never less than a mensch among menschen. Dr. Cheryl Black has guided me through the rigors of scholarly research with her usual grace and uncanny attention to detail from my first semester onward. -
The Vocabulary of Acting: a Study of the Stanislavski 'System' in Modern
THE VOCABULARY OF ACTING: A STUDY OF THE STANISLAVSKI ‘SYSTEM’ IN MODERN PRACTICE by TIMOTHY JULES KERBER A thesis submitted to the University of Birmingham for the degree of MASTER OF ARTS BY RESEARCH Department of Drama and Theatre Arts College of Arts and Law University of Birmingham September 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis aims to examine the extent to which the vocabulary of acting created by Konstantin Stanislavski is recognized in contemporary American practice as well as the associations with the Stanislavski ‘system’ held by modern actors in the United States. During the research, a two-part survey was conducted examining the actor’s processes while creating a role for the stage and their exposure to Stanislavski and his written works. A comparison of the data explores the contemporary American understanding of the elements of the ‘system’ as well as the disconnect between the use of these elements and the stigmas attached to Stanislavski or his ‘system’ in light of misconceptions or prejudices toward either. Keywords: Stanislavski, ‘system’, actor training, United States Experienced people understood that I was only advancing a theory which the actor was to turn into second nature through long hard work and constant struggle and find a way to put it into practice. -
The Meisner Technique
SANFORD MEISNER THE MEISNER TECHNIQUE An Acting Methodology In 1935 Sanford Meisner headed the Drama Department at The Playhouse, SANFORD MEISNER while continuing to act and direct plays produced by The Group Theatre until (1905 - 1997) its demise in 1940. He also appeared on Broadway in "Embezzled" (1944) and "Crime and Punishment" (1948). Sanford Meisner directed "The Time of Your Born August 31, 1905, and raised in Brooklyn, New York, Sanford Meisner Life" (1955) and acted in "The Cold Wind and the Warm" (1958). graduated form Erasmus Hall in 1923 and attended The Damrash Institute of Music (now Juilliard), where he studied to become a concert pianist before Sanford Meisner left The Playhouse in 1958 to become director of the New talking his way into a job in a Theater Guild production of Sidney Howard's Talent Division of Twentieth Century Fox. He moved to Los Angeles, where They Knew What They Wanted. Sanford Meisner realized then that acting, which he was also able to cultivate his career as a film actor. Sanford Meisner starred really "dug at him", was what he was looking to find. In 1931, a fervent group in Odets' "The Story on Page One" (1959), "Tender Is the Night" (1962), and of young actors, including Sanford Meisner, Stella Adler, Lee Strasberg, and later "Mikey and Nicky" (1976). Harold Clurman, among others, joined together to establish the Group Sanford Meisner returned to the Neighborhood Playhouse as head of the Theatre. It was the first permanent theatre company that brought "Method" Drama Department from 1964-1990. In 1985 Meisner and James Carville co- acting, rooted in the methods of Konstantin Stanislavsky, to practice and founded The Meisner/Carville School of Acting on the Island of Bequia in the prominence in America. -
Acting Methods Through Video for the Novice and Veteran Actor
Columbus State University CSU ePress Theses and Dissertations Student Publications 5-2020 Staying in the Moment: Acting Methods Through Video for the Novice and Veteran Actor Cortland D. Ellis Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Ellis, Cortland D., "Staying in the Moment: Acting Methods Through Video for the Novice and Veteran Actor" (2020). Theses and Dissertations. 384. https://csuepress.columbusstate.edu/theses_dissertations/384 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. COLUMBUS STATE UNIVERSITY STAYING IN THE MOMENT: ACTING METHODS THROUGH VIDEO FOR THE NOVICE AND VETERAN ACTOR A THESIS SUBMITTED TO THE HONORS COLLEGE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR HONORS IN THE DEGREE OF BACHELOR OF ARTS DEPARTMENT OF COMMUNICATION DEPARTMENT OF THEATRE COLLEGE OF THE ARTS BY CORTLAND D. ELLIS Copyright © 2020 Cortland D. Ellis All Rights Reserved. STAYING IN THE MOMENT: ACTING METHODS THROUGH VIDEO FOR THE NOVICE AND VETERAN ACTOR By Cortland D. Ellis A Thesis Submitted to the HONORS COLLEGE In Partial Fulfillment of the Requirements for Honors in the Degree of BACHELOR OF ARTS COMMUNICATION & THEATRE COLLEGE OF THE ARTS Approved By Dr. Bruce Getz, Committee Co-Chair Professor Brenda May Ito, Committee Co-Chair Associate Professor David Turner, Committee Member Dr. Susan Tomkiewicz, Committee Member & Associate Dean Dr. Cindy Ticknor, Dean ABSTRACT High school is a great place to start acting and learn about theatre, but it can also be a place where actors develop substandard practices. -
Güncel Bir Rol Çalışma Yöntemi: Meisner Tekniği*
YEDİ: SANAT, TASARIM VE BİLİM DERGİSİ YAZ 2018, SAYI 20: 1-11 SUMMER 2018, ISSUE 20: 1-11 YEDİ: SANAT, TASARIM VE BİLİM DERGİSİ Güncel Bir Rol Çalışma Yöntemi: Meisner Tekniği* Yiğit KOCABIYIK**, Sibel ERDENK*** ........................................................................................................... Özet Geçmişten günümüze oyunculuk ile ilgili birçok yaklaşım ve metod ileri sürülmüştür. En yaygın ve bilinen yaklaşım, Stanislavski’ye aittir. 1900’li yılların başında yaptığı çalışmalarla kendisinden sonra gelen tiyatro uygulayıcıları için bir ekol olan Stanislavski, oyunculuk yöntemini gerçekçi oyunculuk anlayışından yola çıkarak oluşturmuştur. Dünya tiyatro- sundan pek çok önemli isim kendi oyunculuk yaklaşımını Stanislavski›nin çalışmalarından ilham alarak ortaya koymuştur. Bu önemli isimlerin Amerikan Tiyatrosu’ndaki temsilcilerinden biri de Sanford Meisner’dir. Bu çalışmada Meisner Tekniği bir rol çalışma yöntemi olarak ele alınmış, bu rol çalışma yönteminin nasıl bir sistematiğinin olduğu örnek uygulamalarla tartışmaya açılmıştır. Anahtar Sözcükler: Meisner Tekniği, Sanford Meisner, The Neigbourhood Playhouse, Grup Tiyatrosu A Contemporary Acting Method: The Meisner Technique Abstract A number of approaches and methods about acting have been proposed from past to present. The most common approach belongs to Stanislavski. Stanislavski who influenced the subsequent theater practitioners with his works at the beginning of the 1900s created his method of acting on the basis of a realistic acting. Stanislavski’s method has inspired many important figures from the theater world when they created their own acting approaches. One representative in the American Theater is Sanford Meisner. This study considers the Meisner Technique as an acting method and opens the debate regarding the systematics of this acting method using model practices. Keywords: Meisner Technique, Sanford Meisner, Acting Method, The Neigbourhood Playhouse, Group Theater ..........................................................................................................