THEATER 2040 1nd Edition Lecture 18 Outline of Last Lecture I Company a Concept musical b Theme II A Chorus Line a Directed choreographed created by III Bob Fosse a His dance style IV Chicago a Choreographed by b America s obsession V Stephen Sondheim a Musical with all Asian cast in Kabuki style VI Sweeny Todd a Music composed by VII The Lion King a Theatrical elements from Indonesia and Japan VIII Wicked Outline of Current Lecture I What is acting II Classical acting a Historically b Vocal demands remain III Classical text a Alliteration IV Realistic acting a Konstantin Stanislavsky V Stanislavsky s techniques a Relaxation b Concentration and observation c Important of SPECIFICS d Inner Truth e Every Action Must Have Purpose f Find the Superobjective g Ensemble playing VI Becoming an Actor These notes represent a detailed interpretation of the professor s lecture GradeBuddy is best used as a supplement to your own notes not as a substitute VII a Develop the Actor s Instrument The Actor s Routine a Audition b Rehearsal c Performance Current Lecture I II III IV V What is acting a Memorized text written by someone else b Accept and elaborate on a situation use imagination c Invest it with your own personality Classical acting a Historically exaggerated movements and powerful voice i Declaim your lines then strike an impressive pose in an elaborate costume b Vocal demands remain i Sustained phrases diction and projection c David Garrick 18th century actor d Doctor Faustus by Christopher Marlowe Classical text a Known what you re saying b Pay attention to vowels and consonants c Pay attention to alliteration i Repetition of the same sounds at the beginning of words d Put it all together with breath a supported voice and character Realistic Acting a Arrived late 1800s with realism i Anton Chekhov Henrik Ibsen b Details of behavior onstage must match up with that you see everyday c Konstantin Stanislavsky i Developed system of how to achieve believability the plays required ii Russian actor and director iii Worked with Anton Chekhov at Moscow Art Theatre iv Fundamental in all actors trainings who want to be believable onstage Stanislavsky s techniques a Relaxation i Goal eliminate unwanted tension to have complete freedom in movement and voice b Concentration and observation i circle of attention ii Goal stop worrying about audience and lose self consciousness c Important of SPECIFICS i Focus on concrete details that express an emotion biting nails ii Given circumstances VI VII 1 Temperature what s happened right before lighting age d Inner Truth i Goal lift yourself out of you to get into imaginary circumstance with emotional truth ii Magic if emotional recall e Every Action Must Have Purpose i Goal fulfill character s actions and emotion will follow ii What are you doing iii Why are you doing it iv How then will you do it f Find the Superobjective i What does character NEED during course of play above all else ii Break up script into objectives all leading to ultimate superobjective 1 Each objective has an obstacle 2 You don t always win g Ensemble playing i Goal interact with all the performers ii Interact listen and react to all stimuli iii Be your MOST sensitive onstage Becoming an Actor a Develop the Actor s Instrument i Physiological eliminate any blocks that impede 1 Body 2 Voice ii Psychological 1 Imagination 2 Discipline The Actor s Routine a Audition i Your interview ii Working for results not an exploration b Rehearsal i Exploring a character ii Learning stage directions iii Memorizing script iv Working as an ensemble v Technical rehearsals vi Dress rehearsal c Performance i Preparation carries you through the performance ii Live truthfully in imaginary circumstances 1 Listening and reacting moment to moment keep it alive 2 Stage directions locked in 3 Director is no longer on duty the stage manager takes over