Chapter 4

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.

The average theatregoer can name many actors

The 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.

In the United States, the “method” was made popular by the actor Lee Strasberg at the Actors Studio in New York City.

Represented by classically-trained British actors Represented by classically-trained British actors

Has been long debated Has been long debated See text (page 78) for examples from the classical theatre including a passage from Socrates See text (page 78) for examples from the classical theatre including a passage from Socrates In the 18 th century, French encyclopedist Denis Diderot discussed the differences in his essay “The Paradox of Acting” In the 18 th 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. At the Moscow Art Theatre, Stanislavski taught that motivation gives meaning to action. And, as such, plays have subtexts the actor needs to understand.

Almost all American teachers of acting pay homage to Stanislavski and his “theories” of acting... Almost all American teachers of acting pay homage to Stanislavski and his “theories” of acting... Famous American actors trained in the method include... Famous American actors trained in the method include...

Greatness in acting, like greatness in almost any endeavor, demands a superb set of skills Greatness 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. 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 To achieve this virtuosity, the actor must possess two features 1.An expressive voice 2.A supple body

James Earl JonesGlenn Close

Bill IrwinMeryl Streep

Beyond conviction and virtuosity, great actors possess “presence” or “magnetism” or “charisma” Beyond conviction and virtuosity, great actors possess “presence” or “magnetism” or “charisma”

Actor training takes place in colleges, universities, conservatories and private and commercial schools Actor training takes place in colleges, universities, conservatories and private and commercial schools

The self Mind Mind Mettle Mettle Metabolism Metabolism Training is both physical and psychological In France and Japan, actors are trained through apprenticeships In France and Japan, actors are trained through apprenticeships All training requires practice, not simple book learning All training requires practice, not simple book learning

VOICE AND SPEECH VOICE AND SPEECH VOICE: breathing, phonation, resonance VOICE: breathing, phonation, resonance SPEECH: articulation, pronunciation, phrasing SPEECH: articulation, pronunciation, phrasing PROJECTION PROJECTION

Dance, mime, fencing, acrobatics Dance, mime, fencing, acrobatics Relaxation, control, economy Relaxation, control, economy Strength and endurance Strength and endurance

Imagination, 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)

The fourth and final aspect of the actor’s psychological instrument 1.Follow the working conditions 2.Collaborate with fellow artists 3.Be on time to calls 4.Stay well and healthy 5.Train your instrument in exercise or class 6.Memorize parts before they are due 7.Work vigorously to develop craft

Stanislavski described the actor’s ZADACHA which also translates to mean objective, task, goal, victory or intention. Each character has a primary goal and several minor goals in the play. Stanislavski described the actor’s ZADACHA which also translates to mean objective, task, goal, victory or intention. Each character has a primary goal and several minor goals in the play. Secondly, the actor develops TACTICS necessary to achieve the GOALS Secondly, the actor develops TACTICS necessary to achieve the GOALS Finally, the actor must understand the style of given circumstances of the play and apply it to the role Finally, the actor must understand the style of given circumstances of the play and apply it to the role

GOAL. What the character wants GOAL. What the character wants OBJECT (Other). Who does the character want it from? OBJECT (Other). Who does the character want it from? TACTIC. How does the actor get it? TACTIC. How does the actor get it? EXPECTATION. Why does the actor expect to reach the goal? EXPECTATION. Why does the actor expect to reach the goal?

The audition The audition

Plays are in rehearsal for several weeks Plays are in rehearsal for several weeks At rehearsal, actors learn lines and blocking At rehearsal, actors learn lines and blocking Explore the characters motivations (goals) Explore the characters motivations (goals) Memorize Memorize Work on the external elements of timing and delivery Work on the external elements of timing and delivery The most creative time for the actor The most creative time for the actor

The excitement of live performance Philip Seymour Hoffman in DEATH OF A SALESMAN

Now, the actor is aware of his audience... The audience affects the actor’s timing, delivery and energy

Stage 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.

Actors are privileged people, they get to live the lives of saints, sinners, lovers, rulers, the great and the meek 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 reenter the wonder of childhood and play They get to fantasize freely and get paid for it They get to fantasize freely and get paid for it Many want to act, but true acting is a calling Many want to act, but true acting is a calling The addicted actor is probably not very good The addicted actor is probably not very good

Actors must know more than acting, they must represent the human and therefore must understand humankind 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 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 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 Very few are capable of a professional career in acting. Those that do possess great talent, skill, persistence, fortitude and luck