Theories of ActingIntroduction to Theatre 270Theories of ActingI. What is Acting?II. Two Opposing Schools of Thought & PracticeA. Classical. External School1. Denis Diderot (1713-1784)2. The Paradox of the Actor(1773)B. Internal, Psychological School1. Konstantin Stanislavsky (1863-1938)Theories of Acting (Cont.)III. Historical DebateA. Aaron & John Hill(early 18thCent.)IV. Diderot’s ResponseV. The Paradox of the ActorA. Art is Different than NatureB. Actor must be Neutral Vehicle for Emotional ExperienceThe Paradox of the Actor (Cont.)C. Real “Feeling” would:1. Exhaust the Actor2. Not be Reproducible from Performance to PerformanceD. Feelings are Inherently DestabilizingE. Other Artists create out of Silent ConcentrationF. Intense feelings are youthful: artists are matureG. Artificial Neo-classic Drama demands Artificial ActingVI. Konstantin Stanislavsky (1863-1938)A. Lifetime Work in the TheaterB. “Society of Literature and Art” (1888)C. Moscow Art Theatre (1898)1. Anton Chekhov2. An Actor Prepares(1926), Creating A Character (1929), Building a Role (1931)VII. The Stanislavsky MethodA. Favorable ConditionsB. Ensemble ActingC. Study of Real LifeD. Past History of CharacterE. Principle of the 4thWallF. Principle of RelaxationG. Focus on Character PsychologyStanislavsky Method (Cont.)H. BeliefI. Sense of TruthJ. The Magic IfK. Units and ObjectivesL. SuperobjectiveThe EndTheories of
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