Elements Theatre Company the Merchant of Venice by William Shakespeare
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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 -
Download in Short, They Represent Hope
Nieman Reports THE NIEMAN FOUNDATION FOR JOURNALISM AT HARVARD UNIVERSITY VOL. 64 NO. 4 WINTER 2010 The !"#$%Goes On Its &'($') Changes ENERGY • SPORTS • GOVERNMENT • FAMILY • SCIENCE • ARTS • POLITICS + MORE BEATS ‘to promote and elevate the standards of journalism’ Agnes Wahl Nieman the benefactor of the Nieman Foundation Vol. 64 No. 4 Winter 2010 Nieman Reports The Nieman Foundation for Journalism at Harvard University Bob Giles | Publisher Melissa Ludtke | Editor Jan Gardner | Assistant Editor Jonathan Seitz | Editorial Assistant Diane Novetsky | Design Editor Nieman Reports (USPS #430-650) is published Editorial in March, June, September and December Telephone: 617-496-6308 by the Nieman Foundation at Harvard University, E-mail Address: One Francis Avenue, Cambridge, MA 02138-2098. [email protected] Subscriptions/Business Internet Address: Telephone: 617-496-6299 www.niemanreports.org E-mail Address: [email protected] Copyright 2010 by the President and Fellows of Harvard College. Subscription $25 a year, $40 for two years; add $10 per year for foreign airmail. Single copies $7.50. Periodicals postage paid at Boston, Back copies are available from the Nieman office. Massachusetts and additional entries. Please address all subscription correspondence to POSTMASTER: One Francis Avenue, Cambridge, MA 02138-2098 Send address changes to and change of address information to Nieman Reports P.O. Box 4951, Manchester, NH 03108. P.O. Box 4951 ISSN Number 0028-9817 Manchester, NH 03108 Nieman Reports THE NIEMAN FOUNDATION FOR JOURNALISM AT HARVARD UNIVERSITY VOL. 64 NO. 4 WINTER 2010 4 The Beat Goes On—Its Rhythm Changes The Beat: The Building Block 5 The Capriciousness of Beats | By Kate Galbraith 7 It’s Scary Out There in Reporting Land | By David Cay Johnston 9 The Blog as Beat | By Juanita León 11 A Journalistic Vanishing Act | By Elizabeth Maupin 13 From Newsroom to Nursery—The Beat Goes On | By Diana K. -
June 2018 WILL-TV TM Patterns Membership Hotline: 800-898-1065 June 2018 Volume XLV, Number 12 WILL AM-FM-TV: 217-333-7300 Campbell Hall 300 N
FRIENDS OF WILL MEMBERSHIP MAGAZINE patterns june 2018 WILL-TV TM patterns Membership Hotline: 800-898-1065 june 2018 Volume XLV, Number 12 WILL AM-FM-TV: 217-333-7300 Campbell Hall 300 N. Goodwin Ave., Urbana, IL 61801-2316 Mailing List Exchange Donor records are proprietary and confidential. WILL does not sell, rent or trade its donor lists. Patterns Friends of WILL Membership Magazine Editor/Art Designer: Sarah Whittington Printed by Premier Print Group. Printed with SOY INK on RECYCLED, TM Trademark American Soybean Assoc. RECYCLABLE paper. Radio 90.9 FM: A mix of classical music and NPR information programs, including local news. (Also heard at 106.5 in Danville and with live streaming on will.illinois.edu.) See pages 4-5. Recently Sinclair Broadcasting Group, the na- 101.1 FM and 90.9 FM HD2: Locally produced tion’s largest owner of television stations, had music programs and classical music from C24. (101.1 its local news station anchors recite the same is available in the Champaign-Urbana area.) See page 6. script on-air. This move is not unusual from Sin- 580 AM: News and information, NPR, BBC, news, clair, as it often requires all its stations to play agriculture, talk shows. (Also heard on 90.9 FM HD3 with live streaming on will.illinois.edu.) See page 7. video segments known as “must-runs.” With sta- tions all across the country, Sinclair’s requisite Television stories take away the opportunity for those local WILL-HD journalists to explore the real needs and news All your favorite PBS and local programming, in high definition when available. -
Thank You to Our Generous Patrons! We Gratefully Acknowledge Contributions of $250 Or More Here, June 2020- June 2021 Presents
Thank you to our generous patrons! We gratefully acknowledge contributions of $250 or more here, June 2020- June 2021 presents Anonymous (14) Silas Grossberndt Burt & Adrienne Rosen Actor's Equity Foundation Marlene Burdman Gursey Elana Rosenberg & Greg Central Park | Previews June 24 - June 30, 2021 Bonnie Andersen Newman Halvorson Litt Performances July 1 - July 11, 2021 Janice Arber Maura Harway & Richard Wendy Ruby Brooklyn Commons at MetroTech | July 13 - 18, 2021 Melissa T Astudillo Mark Jeanne Sakata & Tim Carl Schurz Park | July 20 - 25, 2021 Axe-Houghton Foundation Howard & Cindy Hechler Patterson Hugo Barreca The Herman Liebmann Nick Salamone & Clay The Battery | July 27 - August 8, 2021 Audiences are welcome on a frst-come, frst-serve basis on the day of Loretta Belanich Foundation Storseth the performance with necessary Contact Information and Social Distancing. Bloomberg L.P. Anne & Leon Hoffman Lynn & John Salmon FREE & OPEN TO THE PUBLIC for FREE reservations & performance Broadbent Charitable Gift James Holmes Curt & Cheryl Sawyer details: nyclassical.org Fund The JPMorgan Chase Alice Scovell Stephen Burdman & Foundation Christine Shamborsky Adena Abramson Terri Kenworthy Randy Shapiro and Daniel Ellen & Don Byck Andrea Allen Knutson Ripp Andrew Carlon Patricia J KoZu Robin Forman & Hugh ” g Michael Carlon Melissa Kuklin Smyser n i d Chris Carstens & Carol Jill & Martin Lebwohl Sharon & Norbert Soski n e y Meyer Michael and Mary Ellen Robert & Barbara p p a h Jill & Michael Caruso Lehmann Staffaroni “ 81 16 Christopher Cass Diane Lerner Jane Stanicki ’s ate m T Rosina Dixon Fred & Ellen Levine Laura Starr ahu by W with N Eric Drachman Lisa LopeZ Heddy Steinman illiam Shakespeare Donald and Emilie Heather MacMaster Antonia Stolper Englund M&R Capital Management Bruce Taten and Rosa The original source material for King Lear wasn’t a tragedy! Tate’s adaptation—which lets our well-meaning royal live and let live—was performed almost exclusively until the 1840s. -
Download Program
THE FLEA THEATER NIEGEL SMITH, ARTISTIC DIRECTOR CAROL OSTROW, PRODUCING DIRECTOR PRESENTS Southern Promises BY THOMAS BRADSHAW DIRECTED BY NIEGEL SMITH FEATURING THE BATS ADAM COY, DARBY DAVIS, MARCUS JONES, TIMOTHY PARK, YVONNE JESSICA PRUITT, JAHSIAH RIVERA, ANA SEMEDO, LAMBERT TAMIN, SHAKUR TOLLIVER, ADRAIN WASHINGTON, SELAMAWIT WORKU, BRITTANY ZAKEN JASON SHERWOOD SCENIC DESIGNER CLAUDIA BROWN COSTUME DESIGNER JORGE ARROYO LIGHTING DESIGNER FABIAN OBISPO SOUND DESIGNER NIKIYA MATHIS HAIR/MAKEUP DESIGNER ROCIO MENDEZ VIOLENCE/INTIMACY CHOREOGRAPHER ANNA KOVACS STAGE MANAGER TYLER THOMAS AssISTANT DIRECTOR CAST (In Order of Apperance) Isaiah..............................................................................Darby Davis Elizabeth.....................................................................Brittany Zaken Benjamin.....................................................................Shakur Tolliver Charlotte............................................................Yvonne Jessica Pruitt David...........................................................................Jahsiah Rivera John...............................................................................Marcus Jones Doctor.............................................................................Timothy Park Imaginary Slave / Emmanuel / David (U/S)/Benjamin (U/S)......Adrain Washington Sarah/Charlotte(U/S)...............................................Selamawit Worku Atticus................................................................................Adam -
Acting Methods Classical Acting / Stanislavsky System
ACTING METHODS CLASSICAL ACTING / STANISLAVSKY SYSTEM Considered by many to be the father of what’s known today as “method acting,” the Stanislavski system was founded by Konstantin Stanislavski and is based on the idea of the “art of experiencing.” The intent is to ignite an actor’s conscious thought to affect their less conscious expression in their performance, as far as emotion and subconscious behaviors. One of the world’s most frequently taught acting techniques, Stanislavski inspired scores of future teachers including Stella Adler, Sanford Meisner, and Lee Strasberg. Think emotional memory recall, spiritual realism, and self-analysis. METHOD ACTING: STRASBERG Lee Strasberg extrapolated upon Stanislavski’s technique to create “The Method” but focused on the psychological aspects. The approach is for actors to evoke their own applicable experiences in order to bring them closer to those of their character, which Strasberg called “emotion memory.” Lee Strasberg’s actors intensify their connections to the work by mimicking characters’ experiences within the context of their own (real) lives, and reaching deeper connections and understandings of their characters’ emotional worlds. METHOD ACTING: STELLA ADLER Stella Adler also worked with and expanded upon Stanislavski’s method, though she stringently opposed the idea of drudging up past experiences for the sake of acting, deeming it unhealthy. Rather, she created a system that revolves around the development of independent actors, the power of the imagination, the importance of action, script interpretation, and the cultivation of a rich humanity. Stella Adler’s approach is also built on that of Stanislavski, but imagination is emphasized over emotional recall; in her words, “You have to get beyond your own precious inner experiences.” METHOD ACTING: MEISNER Developed by Sanford Meisner, the Meisner technique, too, builds on Stanislavski. -
Presents the World Premiere Production Of
presents the world premiere production of By Andrea Thome Directed by José Zayas Music by Sinuhé Padilla Inspired by interviews with undocumented immigrants from Latin America Touring all five boroughs of New York City February-March 2020 www.EnGardeArts.org Fandango For Butterflies (and Coyotes) By Andrea Thome Directed by José Zayas Music by Sinuhé Padilla Inspired by interviews with undocumented immigrants from Latin America PERFORMERS: Jen Anaya* Mariposa Silvia Dionicio* Rafaela Efrén Olson-Sánchez Rogelio Sinuhé Padilla Sinuhé, Lead Musician Andrés Quintero* Elvin Frances Ines Rodriguez Pili Roberto Tolentino* Johan Tania Mesa Musician CREATIVE TEAM: Sinuhé Padilla Music Direction, Spanish Song Lyrics, Zapateado Choreography Johnny Moreno Scenic and Projection Design Lucrecia Briceno Lighting Design Marcelo Añez Sound Design Fabian Fidel Aguilar Costume Design Alexandra Beller Choreography Carolina Arboleda* Production Stage Manager Sarah George Production Manager Steven Brenman Technical Director Mariana Carreño King Translation of English script to Spanish Andrea Thome English Song Lyrics and Translation of Spanish interviews Daniela Thome Supertitles Operator and Creator Elsie Stark/ Stark Naked Productions Casting Karen Greco Publicity David D’Agostino* Assistant Stage Manager Ammy Roth Props Associate Raphael Regan Associate Costume Designer Katie Scibelli Assistant Set Designer Paul Vallaincourt Assistant Lighting Designer Stefania Bulbarella Assistant Video Designer & Programmer Jake Cheriff Audio Engineer & Supervisor Zack -
Technique and Impulse: a Practical Approach
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. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfihn master. UMI films the text directly firom the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be fi"om any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. -
Mark Weatherup Jr. AEA Height: 6’ 2” Weight: 195 Lbs
Mark Weatherup Jr. AEA Height: 6’ 2” Weight: 195 lbs. E-mail: [email protected] Eyes: Green Hair: Brown www.markweatherup.com Vocal Range: Baritone THEATRE Soul Survivor Owen/Price Hiraeth Theatre Company, NY, NY (Dir. Molly Brown) Mary Stuart Burghley Hedgepig Ensemble Theatre, NY, NY (Dir. Emily Lyon) Kill Hamlet G Columbia University New Plays Festival 2018, NY, NY (Dir. Nako Adodoaji) Freedom Train Overseer/Guard Theatreworks USA, NY,NY (Dir. Donya Washington) I’ll Say She Is Agent/Detective Gimme A Thrill Productions, NY, NY (Dir. Amanda Sisk) Liverpool Trading (Reading) Monroe Devon Potpourri World Women Works, NY, NY (Dir. Tamilla Woodard) What’s in Alaska Jack Panda Theatre, Brooklyn, NY (Dir. Gloria Bess) McGurk’s Suicide Hall (Reading) Jack McManus Emerging Artists New Work Series, NY, NY (Dir. Evan Edwards) All’s Well That Ends Well Interpreter/Rinaldo Shakespeare on the Sound, Norwalk, CT (Dir. Mary B. Robinson) Friend of the Devil Simmons Forrest Leo Productions, NY, NY (Dir. Laura Braza) Twelfth Night Captain, Curio, et al. The Queens Players, Queens, NY (Dir. Alberto Bonilla) The Marriage of Bette and Boo Paul Brennan Stella Adler Studio of Acting, NY, NY (Dir. Geordie Broadwater) The Trojan Women Talthybius Stella Adler Studio of Acting, NY, NY (Dir. Steven Marzolf) Eurydice Father Stella Adler Studio of Acting, NY, NY (Dir. Donna Jean Fogel) Death Takes a Holiday Duke Stella Adler Studio of Acting, NY, NY (Dir. Sam Buggeln) Henry V French Soldier NY Classical Theatre, NY, NY (Dir. Stephen Burdman) Two Rooms Michael Wooden Shoe Productions, NY, NY (Dir. Erik Spink) Rumors Officer Welch Stella Adler Studio of Acting, NY, NY (Dir. -
Stella Adler and Harold Clurman
Stella Adler and Harold Clurman: An Inventory of their Papers in the Performing Arts Collection at the Harry Ransom Center Descriptive Summary Creator: Adler, Stella, 1902-1992 Creator: Clurman, Harold, 1901-1980 Title: Stella Adler and Harold Clurman Papers Dates: 1898-2003 (bulk 1950-1990) Extent: 56 document boxes, 5 oversize boxes, 1 oversize folder (26.5 linear feet) Abstract: Stella Adler (1902-1992), founder of the Stella Adler Conservatory of Acting, and Harold Clurman (1901-1980), director, producer, drama critic, and co-founder of the Group Theatre, were married from 1943-1960. The Stella Adler and Harold Clurman papers consist of typescript and handwritten manuscripts, notes, lecture transcripts, annotated texts of plays, class schedules, clippings, proofs, photographs, slides, negatives, correspondence, legal and financial papers, datebooks, certificates, brochures, and theater programs, all ranging in date from 1898 to 2003. Adler’s teaching material makes up a large portion of the archive. Language: English and Yiddish Access: Open for research Administrative Information Acquisition: Purchase (R 15221), 2003 Processed by: Katherine Mosley, 2006 Repository: The University of Texas at Austin, Harry Ransom Center Adler, Stella, 1902-1992 Biographical Sketches Stella Adler (1902-1992), founder of the Stella Adler Conservatory of Acting, is best known as a teacher of the principles of acting and character and script analysis. As a child, she began acting in the New York Yiddish Theater with her parents, Jacob and Sara Adler. She joined the American Laboratory Theatre of Russian actor and teacher Richard Boleslavsky in the mid-1920s and in 1931 became part of the Group Theatre through Harold Clurman, whom she married in 1943. -
WILL Power: Learning What It Takes to Build a Radio Show (Not a Podcast) at WILL-AM Benjamin Payne Augustana College, Rock Island Illinois
Augustana College Augustana Digital Commons Multimedia Journalism and Mass Communication: Multimedia Journalism and Mass Communication Student Scholarship & Creative Works 9-9-2016 WILL Power: Learning What It Takes To Build A Radio Show (Not A Podcast) At WILL-AM Benjamin Payne Augustana College, Rock Island Illinois Follow this and additional works at: http://digitalcommons.augustana.edu/mjmcstudent Part of the Broadcast and Video Studies Commons, Journalism Studies Commons, and the Mass Communication Commons Augustana Digital Commons Citation Payne, Benjamin. "WILL Power: Learning What It Takes To Build A Radio Show (Not A Podcast) At WILL-AM" (2016). Multimedia Journalism and Mass Communication: Student Scholarship & Creative Works. http://digitalcommons.augustana.edu/mjmcstudent/1 This Student Paper is brought to you for free and open access by the Multimedia Journalism and Mass Communication at Augustana Digital Commons. It has been accepted for inclusion in Multimedia Journalism and Mass Communication: Student Scholarship & Creative Works by an authorized administrator of Augustana Digital Commons. For more information, please contact [email protected]. WILL POWER: LEARNING WHAT IT TAKES TO BUILD A RADIO SHOW (NOT A PODCAST) AT WILL-AM Benjamin Payne MJMC-INTR-SCY: Multimedia Journalism & Mass Communication Senior Inquiry September 9, 2016 1 “In 1949, Wilbur Schramm organized a conference of the National Association of Educational Broadcasters, which laid the philosophical basis for public broadcasting in the United States. From that beginning, grew both National Public Radio (NPR) and the Public Broadcasting Service (PBS).”1 A stone bearing this epigraph caught my attention outside Gregory Hall on the campus of the University of Illinois. -
What Is Method Acting?
What is Method Acting? Most critics or supporters say that Method Acting is described as a form of acting where “the actor mystically ‘becomes’ the character or tries to somehow literally live the character in life”. According to Lee Strasberg (the father of Method Acting) this is false. When Lee Strasberg defined what is popularly known as Method Acting he used a simple declarative sentence: “Method acting is what all actors have always done whenever they acted well.” ‘The Method’ is derived from ‘The System’ by Konstantin Stanislavsky, and further developed by Lee Strasberg (at the Group Theatre, the Actors Studio and then at the Institute). The Method “trains actors to use their imagination, senses and emotions to conceive of characters with unique and original behaviour, creating performances grounded in the human truth of the moment”. Lee Strasberg, Stella Adler and Sanford (Sandy) Meisner All three of these acting teachers use The System as a foundation for their acting technique so they have many similarities. We are going to focus on the differences between them. Let’s start with… Lee Strasberg Born in 1901 He was an actor, director and of course an acting teacher He dropped out of high school, worked in a shop that made hairpieces, drifted into the theater via a settlement house company and ... had his life- shaping revelation when Stanislavki brought his Moscow Art theatre to the United States in 1923 Strasberg had seen good acting before, of course, but never an ensemble like this with actors completely surrendering their egos to the work.... “[H]e observed, first of all, that all the actors, whether they were playing leads or small parts, worked with the same commitment and intensity.