Question | Answer |
Year of First tour of MAT in America | 1923 |
MAT was under attack in _______ | Russia |
Two things Chekhov complained about Stanislavski: | Stanislavski focuses too much on surface detail, AND he does not notice comedic element in Chekhov's plays |
Three people to challenge/expand Stanislavki's theories: | Evgeni Vakhtangov, Michael Chekhov, Vselvelod Meyerhold |
3 misconceptions about what Stanislavski "wanted" from actors | Theater=everyday life
Forget audience was present
Hostile to 'theatricalism' |
Co-founder of MAT's first studio | Evegini Vakhtangov |
Stanislavski felt the acting in Vakhtangov's first productions crossed into _________ | Hysteria! |
Vakhtangov combined Stanislavski's _____________ ____________ with _____________ | Inner technique; theatricalism |
Grotesque/ Fantastical Realism | Enables the actor and the director to justify inwardly the content of the play |
Fantastic realism is realism which encompassed _____________ | reality |
Adjustment/Justification | Actor can use modivations from outside of the play to justify actions of the present (within the play) |
Walking on the floor as though testing if for holes instead of contemplating death is an example of _____________ | actor secrets |
Vakhtangov believed all actors should have a desire to tell the story or have a ___________ | reason for coming to the theater |
Vakhtangov was a celebration of the _______ | imagination |
"Believable but Eccentric" | Michael Chekhov |
Chekhov was an early member of who's studio? | Vakhtangov |
When playing a drunk, Chekhov chose to "build the plysical character on a madman's realization that each part of his body is dying in a seperate and horrible way". This is an expansion on ____________ | justification |
Chekhov rejected: | exclusive use of emotion over imagination |
Chekhov's students were to always be ________ ___________ | observing others |
Atmospheres | Source of eneffable moods that emanate from surroundings (feeling of foreboding in a dark alleyway) |
If an actor only plays an atmosphere in a scene, he runs the risk of playing a ___________ | mood (spelled backwards is doom) |
In your mind asking of a character to show you how they run and live | visualization |
Asking for an emotion is often the best way to make it run and hide according to Chekhov. His solution was to say instead of "act happy" he said "add a __________ of happiness here" | quality |
Plysical action that reveals inner feelings and personality of a character is called | psychological gesture |
Who spend 4 years action with the MAT? | Vsevelod Meyerhold |
Meyerhold orginated the role of ________ in SEAGULL | Treplev |
Meyerhold orginated the role of ________ in CHERRY ORCHARD | Tusenbanch |
Meyerhold left MAT due to problems with | Nemirovich Danchenko |
Did Stanislavski lose or gain money on Meyerhold's studio? | Lost money |
Meyerhold was caught between: | realism and a desire to transcend it |
According to Meyerhold, the fatal flaw of the Stanislavski system was: | its lack of physical expressivity |
Meyerhold wanted to do away with: | the fourth wall |
According to Meyerhold, Art should __________ imitate life. | NOT (since art is so different from life) |
Meyerhold: Theater should _____________ the audience | challenge |
Who were the revolutionaries that inspired Meyerhold in the 1910s? | Picasso (art)
Stravinski (music)
Einstein (relativity)
Darwin (evolution)
Marx (politics) |
Meyerhold: to break free of realism, the actor must approach acting in a purely _______ way | physical |
Meyerhold was influenced by other cultures: | Cemmedia del arte
pantomime
circus
Kabuki and Noh
Eastern theateres (knees)
Clowning |
Efficiency in motion idealized by ____________ inspired Meyerhold | Frederick Taylor |
Meyerhold actors should ignore subjective emotion and instead focus on expression through ___________ | reaction of nerves and muscles |
Meyerhold rejected the idea of the _________ | fourth wall/public solitude |
Brutal physical training for in Meyerhold method | Biomechanics |
Meyerhold wished to create feeling in the
A. Audience
B. Actor | A. Audience |
Trend in modern theater toward reducting the event down to the essentials began with: | Thorton Wilder's "Our Town" 1938 |
Acting is doing | Sanford Meisner |
Living truthfully Under Imaginary circumstances | Sanford Meisner |
An everlasting search for truth | Laurnece Olivier |
Acting is not (6 things): | Showing
narrating
illustrating
exhibiting
dressing up
displaying emotions |
The actors goal | to tell the character's circumstances in the play's story as truthfully and effectively as possible |
essential conditions (4 things): | time (when)
place(where)
surroundings (what)
others (who) |
Actors work in rehearsal is to: | discover the truth of an individual's behavior within circumstances |
Playing space and activities is compared to: | baseball |
pre-stanislavski school of thought | external technique |
Convincing imitation and skilled projection of emotions being imitated describes the skills of a _______________ | mimetic actor (DAVID GARRICK) |
Three "outside in" actors | David Garick
Sarah Bernhardt
Laurence Olivier |
Internal belief gave way to: | ALT, Theatre Guild, and the Group |
THe actor's tools (7) | Body, Voice, Impulses, Emotions, Concentration, Imagination, Intellect |
Three things an actor must be: | Flexible
Disciplined
Expressive
to communicate a wide range of emotion and behavior |
Stanislavski: the fundamental aim of our art.... | is the creation of the inner life of a human spirit and its expression in an artistic form |
personal truth in acting has to be balanced with.. | attention to the playwright's text |
Transformed Stanslavski to american method | Lee Strasberg |
actor must constantly respond to stimuli that are imaginary. and yet this must happen not only just as it happens in life but actually more fully and more expressively | Lee Strasberg |
Neighborhood Playhouse, Group theatre, reality of doing | Sanford Meisner |
4 ways to focus on the reality of doing: | impulses, instinct, freeing the imagination, strengthening concentration |
Respect for acting, a challenge for the actor and actor's actor, first actor then teacher, HB studio | Uta Hagen |
Improvisation | spontaneous invention |
Two names of practical aesthetics | David Mamer and WH Macy |
Goal of practical aesthetics | provid the tools for an actor to go onstage with freedom to be completely involved as story unfolds |
Focus of practical aesthetics training | things the actor can control:voice body concentratoin script analysis
based on acting as a craft |
Anne bogart movement theory | viewpoints |
viewpoints | set of names given to certain basic principles of movement that make up a language for a director and actor to talk about the stage |