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This 3 page Class Notes was uploaded by Ashley Childers on Saturday October 3, 2015. The Class Notes belongs to THE 100 at University of Southern Mississippi taught by in Summer 2015. Since its upload, it has received 17 views.
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Date Created: 10/03/15
Acting Chapter 4 Performers 0 Direct and immediate link to the audience 0 Their ability to connect live with spectators is what sets theatre apart from other media like lm and television 0 Children are especially good at imitation lmitation mimicking or copying someone else s vocal patterns gestures facial expressions posture etc 0 Role playing 0 Social Roles 0 Personal Roles 0 Differences Onstage is constantly being observed and on display Requires an actor to play roles not played in real life Often play multiple characters Are aware that they are part of a theatrical event Characters onstage are not real people but can be representations of real people 0 Roles onstage are often similar to roles people are called on to play in real life Perspective 0 Physical demands of classical acting Formal movement and stylized gestures Performing musical components Acting not intended to replicate real life Vocal demands Language often poetic and required intense training Problems of projection and theatre acoustics Performance were often outdoors with large audiences requiring projection Many actors are called upon to preform in classical works today Such a feat requires great skill and training although its rare that today s actors preform in the same exaggerated styles of the past Classical performances today often use realistic styles Called upon to preform many different kinds of roles using many different techniques and approaches Actors today must also study voice and movement Some types of theatre call for other skills such as tai chi or circus techniques Realism perfected by OOOO Henrik lsben Norway August Strindburg Sweden Anton Chekhov Russia Realism de ned Closely resembled what people could identify with and verify form their own experience The Stanislavsky system Relaxation Concentration and observations circle of attention Importance of speci cs quotgiven circumstancesquot lnner truth the quotmagic ifquot pretending a role Action onstage What Why How Through line of a role spine Ensemble playing engaging and supporting fellow actors Stanislavsky s ideas have been adapted sometimes with considerable controversy Various Approaches Emotional and memory recall Use the text as an instrument of action Use the body to help shape the character Decide which techniques or combinations of them works best Voice and Body Training Learning to articulated and project Achieving a balance between being heard and being credible Preforming exercises that develop the instruments of body and voice Centering Training techniques form other disciplines Asian Theatre Combines elements of ballet pantomime and Sgnlanguage 0 Develop their craft with tai chi and martial arts Circus 0 Juggling can help with concentration Acrobatics help keep the body limber and teach teamwork Training for special forms of theatre Musical 0 Singing and dancing Pantomime No words Avantgarde and experimental