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Art of Theatre Week 4

by: Eric Hoover

Art of Theatre Week 4 THEA 11000

Marketplace > Kent State University > Theatre > THEA 11000 > Art of Theatre Week 4
Eric Hoover
GPA 3.94

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About this Document

Notes on: Acting Acting Approaches Scene Design
The Art of the Theatre
James A. Weaver
Class Notes
acting, Scenery, theatre
25 ?




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This 10 page Class Notes was uploaded by Eric Hoover on Saturday September 24, 2016. The Class Notes belongs to THEA 11000 at Kent State University taught by James A. Weaver in Fall 2016. Since its upload, it has received 2 views. For similar materials see The Art of the Theatre in Theatre at Kent State University.


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Date Created: 09/24/16
9/19 – Acting "Willing Suspension of Disbelief" Give something the audience will get invested in Actors = create something believable Create a reality for you Oral traditions - reenacted the stories as opposed to just documenting them Connecting emotionally Create characters Hero Villain Comedic relief Lovers Damsel Intellectual Action Sly Fox Dummy (dumb bunny) Background characters Commedia dell'Arte Italy, 16th century Masks Audition Type Casting Kinds of Acting Mime Classic Acting = Greek Theatre/Shakespeare Virtuoso - draws attention to it Comedic Epic - Theatre of Alienation - No Emotion from audience Absurdism - (Ex. Waiting for Godot) - Samuel Beckett Improvisation Method - Total immersion in character reality Realistic - most popular, reflecting life Non-Realistic Invisible - just doin' it. Not aware that they're acting! Theatrical Film Good Actor Tom Hardy Meryl Streep Tom Hanks Julie Andrews Bad Actor Nicholas Cage??? Christin Stewart John Travolta????? The Difference? Believability Versatility Stage = bigger Film = intimate Acting is Receiving!! (Reacting to what is given, truthful) 9/16 – Approaches to Acting Stanislavski = Psycho-Emotional From the inside/out Emotional recall Sense memory Russian Naturalistic style Chekhov = Psycho-physical Studied with Stanislavski Mind, body, awareness of senses Awareness of energy types Meisner = repetition Openness, flexibility, listening skills practiced "Live truthfully under given imaginary circumstances" Meyerhold = Bio-mechanical From the outside in Teach the body to "think" Physical activity Spontaneity Improvisational immediacy Biochemical Etudes Stage Terms: Center stage Stage left - actors' left Stage right - actors' right Upstage - back side of stage Downstage - front of stage DSL = downstage left USC = upstage center Cue = call to actor Improv Upstage oneself Technical rehearsal Off book = memorized reading of script Cold reading = reading from a script you've never read before Sides Cue to cue Previews = the dress rehearsal screenings Opening night Triple threat Acting Styles Classic acting Greek theatre/Shakespeare Greek is focused on a larger presence, Shakespeare is more emotional/intimate Greek - appearance, physicality Shakespeare - body language, emotion Virtuoso acting "You have to act like you don't know I am acting" Mime - Marcel Marceau Comedic Standup/monologue Physical Epic Theatre Bertolt Brecht Formed as a response to melodrama, realism and naturalism Used poetry to base his theatrical prowess Keep the audience off-kilter, keep them from being absorbed Absurdism Samuel Beckett, Waiting for Godot Start at A, end at A Improvisation The action of improvising - or of composing, uttering, executing, or arranging anything without previous preparation. Method Acting "The Method" Stanislavski A dramatic technique in which actors identify as closely as possible with character played by correlating experiences from their personal lives to the character: also called the Stanislavski System. List of Famous Method Actors Marlon Brando Samuel L. Jackson Hallie Berry Christian Bale Marilyn Monroe Robert de Niro Robert Downey, Jr. Shia LaBeouf Charlize Theron Meryl Streep Realistic Acting Also called Naturalistic Drama Replicates real life Associated with Stanislavski Emotionally and psychologically involved with roles. Non-Realistic Acting Departs markedly from fideltiy to the outward appearance of life. Actor in no way acts as he'd do in real life Non-Naturalistic Theatre of the Absurd Beckett, Harold Pinter, Jean Genet, Eugene Ionescu, Edward Albee. Invisible acting Yoshi Oida started it. Once the audience becomes too conscious of the actor's artistry, the wonder of performance dies. "Actor" never seen, only his/her performance. Don't know that the actor is acting. Theatrical acting Bigger, Louder, Funnier, Faster Film Acting Think loudly but gently. Famous Acting Teachers Stanislavski Chekhov Strasberg, Adler, Lewis Ibsen Meyerhold Meisner Hagen Bergof Brecht 9/23 – Scene Design Purpose? Create the environment for the actors to inhabit Create the world of the story How? They control the scenery, lighting, props, etc. Scenic Elements? The different environments Colors Technical Engineer? Work with director Set movement Safety and construction Scenic Process 1 Line - angles/shapes 2 Mass + composition 3 Texture 4 Color 5 Rhythm 6 Movement - sets tempo as well Greek Arenas The Skene = the prop/scenery house/backdrop Originally wood, evolved into stone Became more elaborate over time The Bibiena Family Italian Scenic Designers - 17th/18th century Perspective became an art form Backdrops became more and more elaborate Metamorphosis - off-Broadway contemporary theatre Pools on stage? Greek theatre revisited Dramatic atmosphere enhanced by technology A mixture of old and new Moralistic fable Exotic setting Cat on a Hot Tin Roof by Tennessee Williams Traditionally set in Mississippi "Cat" Time Warp in the round Broadway production A minimalist approach Simple transformations A sense of vastness From ghetto to jazz club Minimalism offers flexibility


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