Movement class, check these out:
Scenes from Suzuki's recent production of the Greek tragic play Electra, which looks to be set in an insane asylum. Prepare yourself for quite a trip:
http://www.youtube.com/watch?v=JtiNJF0dO7A&feature=related
photo stills from productions:
http://www.youtube.com/watch?v=ISO1Y6obkBs&feature=related
note that the music in this one is the music for the slow tem teke tem walking -- the big swell in the music is where the turns occur
http://www.youtube.com/watch?v=BhHWHNBwH9Q&feature=watch_response
demonstration of the exercises with one professor's ideas about context and purpose
Tuesday, October 12, 2010
Suzuki Verses
O, splendor of sunburst breaking forth this day
Whereon I lay my hands once more on Helen, my wife.
And yet it is not so much as men think
For the woman’s sake I came to Troy,
But against that guest proved treacherous
Who, like a robber, carried the woman from my house.
TO SIT IN SOLMEMN SILENCE IN A DULL DARK DOCK
IN A PESTILENTIAL PRISON WITH A LIFE LONG LOCK,
AWAITING THE SENSATION OF A SHORT SHARP SHOCK
FROM A CHEAP AND CHIPPY CHOPPER ON A BIG BLACK BLOCK.
Whereon I lay my hands once more on Helen, my wife.
And yet it is not so much as men think
For the woman’s sake I came to Troy,
But against that guest proved treacherous
Who, like a robber, carried the woman from my house.
TO SIT IN SOLMEMN SILENCE IN A DULL DARK DOCK
IN A PESTILENTIAL PRISON WITH A LIFE LONG LOCK,
AWAITING THE SENSATION OF A SHORT SHARP SHOCK
FROM A CHEAP AND CHIPPY CHOPPER ON A BIG BLACK BLOCK.
Friday, September 10, 2010
Edward Albee article
voice students please read:
"Sometimes when I’m writing a scene from a play I think I’m writing a string quartet.
If you’re directing a play of mine,” he continues, “you could conduct it [waving his arms] because the rhythms and the punctuation and everything that’s used is exactly the way a composer does it. Note duration, note intensity ... A play is a heard experience."
http://www.ft.com/cms/s/2/9d442662-b6e9-11df-b3dd-00144feabdc0.html
"Sometimes when I’m writing a scene from a play I think I’m writing a string quartet.
If you’re directing a play of mine,” he continues, “you could conduct it [waving his arms] because the rhythms and the punctuation and everything that’s used is exactly the way a composer does it. Note duration, note intensity ... A play is a heard experience."
http://www.ft.com/cms/s/2/9d442662-b6e9-11df-b3dd-00144feabdc0.html
Notes from Movement class by Casey
Hi everyone, here are notes that Casey took from our work in Movement class this week. Feel free to add your thoughts, too, and many thanks to Casey. Note the homework reminder:
Movement for the Stage class for September 7th and 9th…
Props should ground you. Sometimes, however, having to interact with them causes us to become “lost” and break character when onstage with them because handling them is so foreign to us. Send props presence. Sending them presence helps allow our movements to be fluid and confidently portray a character’s relationship with the object.
Center work:
Changing your center changes the personality and worldview of the character being portrayed. It also changes what you communicate to the audience about the emotions of the character. Additionally, it actually influences the emotions you feel when you move the center. So, this can be helpful in that when preparing/researching for a scene, you can become inspired (and learn more about the character) by the different way you carry yourself and the gestures you make as a result of having moved your center to different places.
Even though your audience really wants you to do a good job, they won’t always send you (or have, many times) that positive energy that comes from eager anticipation. Therefore, you’ll have to bring it with you by creating and taking your presence on stage. In order to do this, you’ll have to cope with anxiety and develop your awareness which, in turn, will allow you to create presence beforehand – instead of mustering it up after you’re onstage.
The visualizing-light-through-your-fingers, etc-while-pushing-boulders-and-swinging-axes exercises train the mind to focus on emitting presence (energy) while doing something that requires concentration, like acting.
Homework: Observe people’s centers and pick one to show/discuss with the class on Tuesday.
Movie Suggestion: Watch George Clooney's movement in "The American" (now playing). Also, on the Netflix website (if you are a member) you can watch a series of Daniel Day Lewis movies -- he is extraordinary at creating character through physicality. The 'tying his shoes' moment comes about 2/3 of the way in to "A Room With A View" but his movement choices throughout the whole film are terrific.
Movement for the Stage class for September 7th and 9th…
Props should ground you. Sometimes, however, having to interact with them causes us to become “lost” and break character when onstage with them because handling them is so foreign to us. Send props presence. Sending them presence helps allow our movements to be fluid and confidently portray a character’s relationship with the object.
Center work:
Changing your center changes the personality and worldview of the character being portrayed. It also changes what you communicate to the audience about the emotions of the character. Additionally, it actually influences the emotions you feel when you move the center. So, this can be helpful in that when preparing/researching for a scene, you can become inspired (and learn more about the character) by the different way you carry yourself and the gestures you make as a result of having moved your center to different places.
Even though your audience really wants you to do a good job, they won’t always send you (or have, many times) that positive energy that comes from eager anticipation. Therefore, you’ll have to bring it with you by creating and taking your presence on stage. In order to do this, you’ll have to cope with anxiety and develop your awareness which, in turn, will allow you to create presence beforehand – instead of mustering it up after you’re onstage.
The visualizing-light-through-your-fingers, etc-while-pushing-boulders-and-swinging-axes exercises train the mind to focus on emitting presence (energy) while doing something that requires concentration, like acting.
Homework: Observe people’s centers and pick one to show/discuss with the class on Tuesday.
Movie Suggestion: Watch George Clooney's movement in "The American" (now playing). Also, on the Netflix website (if you are a member) you can watch a series of Daniel Day Lewis movies -- he is extraordinary at creating character through physicality. The 'tying his shoes' moment comes about 2/3 of the way in to "A Room With A View" but his movement choices throughout the whole film are terrific.
Tuesday, August 24, 2010
Michael Chekhov method (Movement Class)
A page of writings by Michael Chekhov:
http://www.michaelchekhovactingstudio.com/articles.htm#action
A teacher talks about the MC work:
http://www.youtube.com/watch?v=g_IZ3AVW5go&feature=fvst
http://www.michaelchekhovactingstudio.com/articles.htm#action
A teacher talks about the MC work:
http://www.youtube.com/watch?v=g_IZ3AVW5go&feature=fvst
The IPA (Voice II students)
http://en.wikipedia.org/wiki/international.phonetic.alphabet
Above is a link to a very thorough article about the IPA used by linguists around the world. We will use a more limited version for theatrical purposes.
Below is an article about Edith Skinner's work creating an American Theater Standard. The phonetics you see listed here are ones we'll focus on in class. In my years as a coach I've moved toward what I'd describe as "Expressive American Theater Standard." It is more practical, and reflects how theater in America has evolved since Edith's work in the 1960's and 70's. Today Edith's work can sound a little "precious" or a little too "British" when followed too strictly.
http://en.wikipedia.org/wiki/american.theater.standard
Above is a link to a very thorough article about the IPA used by linguists around the world. We will use a more limited version for theatrical purposes.
Below is an article about Edith Skinner's work creating an American Theater Standard. The phonetics you see listed here are ones we'll focus on in class. In my years as a coach I've moved toward what I'd describe as "Expressive American Theater Standard." It is more practical, and reflects how theater in America has evolved since Edith's work in the 1960's and 70's. Today Edith's work can sound a little "precious" or a little too "British" when followed too strictly.
http://en.wikipedia.org/wiki/american.theater.standard
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