Introduction to Acting What is acting Is it

Introduction to Acting

What is acting? �Is it real or is it phony? �The ability to create complete reality while on stage.

Function of the Actor �Take the character created by the playwright and turn him into a living breathing human being �The Actor is the artist �Character is the work of art

Two Approaches to Acting �External: Create the character through external signs: gestures, posture, body language. �Internal: The character grows from within the actor

Delsarte System �Created by Francois Delsarte (1811 -1871) �He believed a character’s emotions could be projected by a formal set of gestures, postures and physical attitudes �Popular in the late 19 th century �Used by the American Academy of Dramatic Arts and Emerson’s School of Oratory

Constantin Stanislavski (1863 -1938) �Russian Actor �Director of the Moscow Art Theatre �Developer of “The Method” approach to actor training �Author of four books on acting

Lee Strasberg (1901 -1982) �The Actor’s Studio was founded in 1947 by Elia Kazan �Master Teacher: Lee Strasburg �First major Broadway production to use “The Method: ” A Streetcar Named Desire �Directed by Elia Kazan �Stared Marlon Brando, the Actor Studio’s first major “star”

The Stanislavskian Method �Trained body and voice �Know stage technique �Skilled observer of life �Analyze the script �Emotionally involved with the character �Concentrate on the character �Continually work on your art

Trained Body and Voice �Body must be able to respond to the demands of the character �Actor must be able to project to the back of the house �Acting should appear to be “effortless” �Actor takes voice lessons �Actor takes fencing lessons

Stage Technique �Adapting everyday life to the conventions of theatre �Opening a door �Pointing (gesture) �Making a turn �Talking on the phone �Sitting in a chair �Firing a gun

Skilled Observer of Life �An actor watches people �Observation is one of his primary research tools �He builds his character (external) from these observations

Play Analysis �Text: The lines written by the playwright �Sub-text: The meaning behind those lines �Spine: The character’s major goal �Motivation (Verb): What is the character attempting to achieve with each line of dialogue. �Active verbs: To belittle, To challenge, To avoid. . .

Emotional Involvement �Emotional recall: Recalling an experience from your past. �The “Magical If”: Asking yourself, “If I was the character, what would I do”

Concentration �An actor must concentrate on the character he is creating �He must ignore everything else that is happening around him �An actor must continually work on his art

An Actor’s Greatest Challenge �Make each performance new and fresh �Make the audience believe that this is the first time this event has occurred �How? By listening and responding honestly