Super-objective:
The main theme.
The main theme.
Wednesday, 17 September 2014
Monday, 15 September 2014
Appying Stanislavsky Method -- Super Objective
Stanislavsky held that each character in a play had an objective – something very specific that they were trying to achieve within each scene. In the larger picture, he believed that there was one larger objective that carried the character through the play – he called this the ‘super objective’.
Motivation is what drives the character and what makes them want the things they want. The Stanislavski System teaches an actor to break down the text of the play into smaller beats and identify what their character wants (objective), anything standing in their way (obstacles), and how they are going to get what they want (tactics). In addition, he believed it was crucial to understand the thought process of the character to learn why their objective is important to them and what drives them to get what they want.
Given Circumstances
- the plot, every thing in the play is a circumstance which the character must know how to interpret their action
Units of Action
- Are things that build up to the supper objective.
- Scene within a scene.
Magic 'If'
- What actors need to use when they put themselves in a situation, but as their characters.
Motivation is what drives the character and what makes them want the things they want. The Stanislavski System teaches an actor to break down the text of the play into smaller beats and identify what their character wants (objective), anything standing in their way (obstacles), and how they are going to get what they want (tactics). In addition, he believed it was crucial to understand the thought process of the character to learn why their objective is important to them and what drives them to get what they want.
Given Circumstances
- the plot, every thing in the play is a circumstance which the character must know how to interpret their action
Units of Action
- Are things that build up to the supper objective.
- Scene within a scene.
Magic 'If'
- What actors need to use when they put themselves in a situation, but as their characters.
Staring Investigate
9/9/2104
Today in class we discussed
- historical perspective if the Stansalsvy method
- I will have to select a script and give it a displaced context this is what i will do.
eg, we are editing Romeo and Juliet -> Use the original text and change it to your
End- paragraph How can you use his ideas in Drama today?
Today in class we discussed
- historical perspective if the Stansalsvy method
- I will have to select a script and give it a displaced context this is what i will do.
eg, we are editing Romeo and Juliet -> Use the original text and change it to your
End- paragraph How can you use his ideas in Drama today?
Monolouge ... Discussing, Practising and Deciding.
Today in class we discussed the elements of a good monologue....
1. Select an entertaining one. Choose a monologue you love doing so we will love watching you.
2. Find one that "fits you like a glove" so we believe you. Know your type and range as far as being cast. Make sure the part is age-appropriate and physically accurate.
3. Choose one that is serio-comedic – not just comedic or dramatic. Show us some change in emotion but keep us laughing.
4. Fine one with an element of surprise. If the audience is three steps ahead of you, they get bored very fast.
5. Choose one that is NOT full of foul language or rude sexual innuendos. The exception here is unless it is essential to the character, who in spite of the language is funny or quirky. But be careful.
Bibliography
Monday, 1 September 2014
The Circle of Energy
First Circle--
When you are with 'yourself'.
When you are just there, you do not put any effort into being present.
Second Circle--
A continual sense of being present.
Once you are in second circle you are equal with your other actors.
Third Circle--
Superficial energy.
A person can be very dominant and others not so much.
When you are with 'yourself'.
When you are just there, you do not put any effort into being present.
Second Circle--
A continual sense of being present.
Once you are in second circle you are equal with your other actors.
Third Circle--
Superficial energy.
A person can be very dominant and others not so much.
Wednesday, 27 August 2014
The Stanislavsky System
What is it?
The Stanislavsky System is when there is a character development process, this is to make the performance 'real'. The system was created to portray believeable and natural people on stage. This notion was a striking contrast in 19th century Russia where the actor and acting where essentially two separate things.
In class we also learn new stage terms like...
Crossover- When two actors 'exchange' stage positioning in an diagonal line.
General Stage Direction-
Give and Take- When one character is more prominent than the other. So the character that is less prominent is giving the scene and the prominent character is taking the scene.
Crossover- When two actors 'exchange' stage positioning in an diagonal line.
General Stage Direction-
Give and Take- When one character is more prominent than the other. So the character that is less prominent is giving the scene and the prominent character is taking the scene.
First Drama Lesson -- Dramatic Terms
Last lesson my class was given homework, we had to find a range of dramatic terms that were unknown... Here are few definitions that I were completely unfamiliar...
Box set:
A set built behind a proscenium arch to represent three walls of a room. The absent fourth wall
on the proscenium line allows spectators to witness the domestic scene. First used in the early
nineteenth century
Reversal or Peripeteia:
The point at which the action of the plot turns in an unexpected direction for the
protagonist- from failure to success or success to failure.
Examples: Oedipus's and Othello's moments of enlightenment are also reversals. They learn
what they did not expect to learn.
Tragic flaw:
A weakness or limitation of character, resulting in the fall of the tragic hero.
Example: Othello's jealousy and too trusting nature is his tragic flaw
Soliloquy
a monologue uttered by a character alone on-stage that provides insight into his or her thoughts.
Trope
a musical passage that serves as an interpolation in a Christian religious service and elaborates on the liturgy. Tropes included the representation of religious figures in a call-and-response structure and became a traditional part of the Easter Mass during the Middle Ages.
Box set:
A set built behind a proscenium arch to represent three walls of a room. The absent fourth wall
on the proscenium line allows spectators to witness the domestic scene. First used in the early
nineteenth century
Reversal or Peripeteia:
The point at which the action of the plot turns in an unexpected direction for the
protagonist- from failure to success or success to failure.
Examples: Oedipus's and Othello's moments of enlightenment are also reversals. They learn
what they did not expect to learn.
Tragic flaw:
A weakness or limitation of character, resulting in the fall of the tragic hero.
Example: Othello's jealousy and too trusting nature is his tragic flaw
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