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American Theater His

methods and chronology

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
Created by: juliac
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