This is a scene study class that focuses on characterization and motivation. The emphasis is on interpretation of the playwright’s intentions and finding actable interesting choices for the actor. Scenes are used to deepen the actor's ability to execute honest and purposeful stage acting and communication. Emphasis is laid on the "truth of the moment."
OBJECTIVES:
Upon completion of this course the student will: Have explored and understand the basic concepts of modern realistic acting techniques (“Method”) based on the work of Stanislavski and how those techniques evolved through the work of many people including Michael Chekhov, Harold Clurman, Lee Strasberg, Stella Adler, Uta Hagen and Sanford Meisner.
Be able to apply these techniques to performance situations.
Understand that “Method” acting is a specific acting style for a specific purpose and that a versatile actor is versatile in approach. Understand how an actor’s work is specific and individual, that it doesn't consist of generalities. It is the truth of your experience in that moment. If an actor can find truth for herself, she can create reality for the audience.
Be able to analyze their own acting process strengths and weaknesses.
Learn to work effectively with a director in a rehearsal process
Also, using exercises with the scripted material we will delve into such concepts as, character history, relationships, prop endowment, environment, the moment before, playing the opposite and making discoveries. The course includes intensive study and analysis of dramatic texts, scenes, and characters, and the study of alternative application of the actors' tools and skills in the preparation and performance of stage roles. Exercises from many different methodologies will be explored including several from Michael Chekhov, Uta Hagen, Viola Spolin, Philippe Gaulier, Jacques Lecoq and Sanford Meisner.
OBJECTIVES:
Upon completion of this course the student will: Have explored and understand the basic concepts of modern realistic acting techniques (“Method”) based on the work of Stanislavski and how those techniques evolved through the work of many people including Michael Chekhov, Harold Clurman, Lee Strasberg, Stella Adler, Uta Hagen and Sanford Meisner.
Be able to apply these techniques to performance situations.
Understand that “Method” acting is a specific acting style for a specific purpose and that a versatile actor is versatile in approach. Understand how an actor’s work is specific and individual, that it doesn't consist of generalities. It is the truth of your experience in that moment. If an actor can find truth for herself, she can create reality for the audience.
Be able to analyze their own acting process strengths and weaknesses.
Learn to work effectively with a director in a rehearsal process
Also, using exercises with the scripted material we will delve into such concepts as, character history, relationships, prop endowment, environment, the moment before, playing the opposite and making discoveries. The course includes intensive study and analysis of dramatic texts, scenes, and characters, and the study of alternative application of the actors' tools and skills in the preparation and performance of stage roles. Exercises from many different methodologies will be explored including several from Michael Chekhov, Uta Hagen, Viola Spolin, Philippe Gaulier, Jacques Lecoq and Sanford Meisner.
- Professor: David Bassuk