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American Theater His
methods and chronology
| 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 |
Created by:
juliac
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