methods and chronology
Quiz yourself by thinking what should be in
each of the black spaces below before clicking
on it to display the answer.
Help!
|
|
||||
|---|---|---|---|---|---|
| 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
🗑
|
Review the information in the table. When you are ready to quiz yourself you can hide individual columns or the entire table. Then you can click on the empty cells to reveal the answer. Try to recall what will be displayed before clicking the empty cell.
To hide a column, click on the column name.
To hide the entire table, click on the "Hide All" button.
You may also shuffle the rows of the table by clicking on the "Shuffle" button.
Or sort by any of the columns using the down arrow next to any column heading.
If you know all the data on any row, you can temporarily remove it by tapping the trash can to the right of the row.
To hide a column, click on the column name.
To hide the entire table, click on the "Hide All" button.
You may also shuffle the rows of the table by clicking on the "Shuffle" button.
Or sort by any of the columns using the down arrow next to any column heading.
If you know all the data on any row, you can temporarily remove it by tapping the trash can to the right of the row.
Embed Code - If you would like this activity on your web page, copy the script below and paste it into your web page.
Normal Size Small Size show me how
Normal Size Small Size show me how
Created by:
juliac
Popular Miscellaneous sets