The Actor
I.
Role and History
Role:
 |
Singularly
the most identifiable part and person in both the creative process
and product of theatre |
|
Role
is to Develop and Portray the characters as called for in the Script |
History:
|
Hypokrites:
Impersonators |
|
Thespis:
First actor, stepped out of a choral mode and delivered lines |
|
Dennis
Diderot: Presentational Style, Imitate Outward Signs, based on Delsarte's
Coding of Gestures |
|
Stanislavsky:
Method Acting, Internalization, Based on Emotion and Memory Recall |
|
Jerzy
Grotowski: Primal Core Essence, Based on Primal emotional Recall and Gesture |
II.
A Method for Actors, Getting the Job Done:
Four
Necessary Aspects (Skills) of the Actor:
|
Character
Simulation: Objective Resemblance, "Characteristics", and
Impersonation Skills of Actions |
|
Character
Embodiment: Subjective Counterpart, "Feelings", and Impersonation
Skills of Emotions |
|
Virtuosity:
Ability to transcend from the common approach to the creation of a totally
new character |
|
Magic:
Presence and Magnetism |
Five
Parts of the Actors Instrument:
|
Voice:
Breathing, Phonation, Resonance, Historical Meter, Song and Singing,
Legitimate vs. Belting |
|
Speech:
Articulation, Pronunciation, Phrasing, Projection, Accents and Dialects |
|
Movement:
Dance, Combat, Period Style, Clowning |
|
Imagination:
To Develop the "Whole" Character |
|
Discipline:
Practice, Refine, Learn, Memorization, Perception, Concentration and
Adaptation |
Training:
|
External
Training (Techniques and Book Knowledge) |
|
Internal
Training (Experiential and Observed) |
|
Integrated Methods (Based on): |
Situational
Intentions, Goals and Desires of Character
Variety
of Tactics, Motivations and Aims to achieve the above Goals and Desires
Mode
of Performance, Identity and Role of Character within the production, empathy
versus relief
III.
The Actors Professional Routine
|
Audition |
|
Common Formats |
|
Cold
vs. Rehearsed Readings |
|
Photo/Resume |
|
Rehearsal |
|
Time
Required in Rehearsal |
|
Refinement
of Developed Character |
|
Memorization
of Lines |
|
Development
and Memorization of Blocking |
|
Development
and Memorization of Business |
Performance:
The
Trials, Tribulations, and the Struggles of Live Performance