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Chapter 3: The Playwright. . The nature of playwriting, the qualities that make a fine play, and the process and career of playwriting. What does a playwright do?. The playwright provides the point of origin for nearly every play production...the script. - PowerPoint PPT Presentation
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THE ACTOR“Theatre Brief” Cohen and ShermanChapter Three
What is acting?It is the oldest of the theatrical arts.
THESPIS, the first actor, was the author of the plays in which he appeared.
From his name comes the word THESPIAN, another word for actor.
Acting is a public artThe average theatregoer can name
many actors
Two notions of actingThe actor “presents” to the audience in a form that we call “presentational.” It is also called “external” or “technical” acting.
The second notion emanates from somewhere “inside” the actor. The actor works honestly and effectively to “live the life of the character.” To feel the emotions. It can be called “representational.” Actors of this school are often “method actors” named for a “system” devised by Konstantin Stanislavski.
Konstantin Stanislavski1863-1938
Lee StrasbergIn the United States, the “method” was made popular by the actor Lee Strasberg
at the Actors Studio in New York City.
Presentational actorsRepresented by classically-trained
British actors
Internal vs. externalHas been long debatedSee text (page 78) for examples from the
classical theatre including a passage from Socrates
In the 18th century, French encyclopedist Denis Diderot discussed the differences in his essay “The Paradox of Acting”
At the Moscow Art Theatre, Stanislavski taught that motivation gives meaning to action. And, as such, plays have subtexts the actor needs to understand.
Stanislavski’s legacyAlmost all American teachers of acting
pay homage to Stanislavski and his “theories” of acting...
Famous American actors trained in the method include...
The actor as virtuosoGreatness in acting, like greatness in
almost any endeavor, demands a superb set of skills
In order to play HAMLET, for example, the actor himself needs to embody the genius of the character.
To achieve this virtuosity, the actor must possess two features
1. An expressive voice2. A supple body
Magnificent voices
James Earl Jones Glenn Close
Splendid supple bodies
Bill Irwin Meryl Streep
A celebrated virtuoso – Mark Rylance
Shakespeare’s 12th Night
Jez Butterworth’s Jerusalem
Bridge of Spies
MagicBeyond conviction and virtuosity, great actors possess “presence” or “magnetism” or “charisma”
BECOMING AN ACTORActor training takes place in colleges,
universities, conservatories and private and commercial schools
Professional actors belong to an actor’s union
The actor’s instrumentThe self
MindMettleMetabolism
Training is both physical and psychologicalIn France and Japan, actors are trained
through apprenticeshipsAll training requires practice, not simple
book learning
PHYSIOLOGICAL TRAININGVOICE AND SPEECH
VOICE: breathing, phonation, resonanceSPEECH: articulation, pronunciation,
phrasingPROJECTION
MOVEMENTDance, mime, fencing, acrobaticsRelaxation, control, economyStrength and endurance
PSYCHOLOGICAL instrumentImagination, and willingness and ability to use it
in the service of art, are major components of the actor’s psychological instrument
1. Make the artifice of the theatre real (flats and platforms become streets or mountains)
2. Place the self in the imagined world of the play (Really fall in love with your acting mate)
3. Characterize the role with uniqueness and life (liberate the actor’s imagination)
DisciplineThe fourth and final aspect of the actor’s
psychological instrument1. Follow the working conditions2. Collaborate with fellow artists3. Be on time to calls4. Stay well and healthy5. Train your instrument in exercise or
class6. Memorize parts before they are due7. Work vigorously to develop craft
Discipline?
Discipline?
THE ACTOR’S APPROACHStanislavski described the actor’s
ZADACHA [задача] which also translates to mean objective, task, goal, victory or intention. Each character has a primary goal and several minor goals in the play.
THE ACTOR’S APPROACHSecondly, the actor develops TACTICS
necessary to achieve the GOALS
THE ACTOR’S APPROACHFinally, the actor must understand the
style of given circumstances of the play and apply it to the role
Cohen’s GOTEGOAL. What the character wantsOBJECT (Other). Who does the
character want it from?TACTIC. How does the actor get it?EXPECTATION. Why does the actor
expect to reach the goal?
THE ACTOR’S ROUTINEThe audition
REHEARSAL
Rehearsal processPlays are in rehearsal for several
weeks
Rehearsal processAt rehearsal, actors learn lines and blocking…
…and explore the characters motivations (goals)
Rehearsal processMEMORIZE
…and work on the external elements of timing and delivery
Rehearsal processIt is the most creative time for the actor
Patrick Stewart, Simon Callow & Ian McKellan
Performance
...what the theatre is all aboutThe excitement of live performance
Philip Seymour Hoffman in DEATH OF A SALESMAN
The shift from rehearsal to performanceNow, the actor is aware of his audience...
The audience affects the actor’s timing, delivery and energy
Stage vs. filmStage actors must re-create their performance over and over. Each actor develops ways to adapt to the different demands of various media
Dame Judi Dench in film and onstage.
Acting is an art...Actors are privileged people, they get
to live the lives of saints, sinners, lovers, rulers, the great and the meek
They get to reenter the wonder of childhood and play
They get to fantasize freely and get paid for it
Many want to act, but true acting is a calling
The addicted actor is probably not very good
Actors must know more than acting, they must represent the human and therefore must understand humankind
The proper study of acting is life: common sense, observation, perception, tolerance and understanding
Actors need to possess training, business acumen and a realistic vision
Very few are capable of a professional career in acting. Those that do possess great talent, skill, persistence, fortitude and luck
