Home Musician Artist TV & Video Author Fashion Theatre Film Jobs Shopping Business Search
intersilo>>>  film, method acting, studio history

acting film

The first part below was taken from NYFA and  sounds like good psychology for any of the performing arts: film, theatre, music etc - F.H.-

No matter how beautiful the cinematography or impressive the special effects in a movie, audiences are drawn in by the struggles of the characters on screen. On set, dozens of crew members may be whirling about; twelve-kilowatt lights bore into the eyes; focus tape is pulled to the actor’s cheek, and the actor is still expected to give a believable and moving performance. Tuition for the Acting Workshop is $2,500 for the four-week workshop.

In acknowledgment of the importance of the film actor's job, and in support of the skills required to do the job brilliantly, the Film Academy is proud to offer its Acting for Film Workshop.

Format

Unlike other acting workshops, our program is integrated with our film school. This has many advantages for the acting student interested in work in front of the camera.

Classes emphasize, first, the theory and practice of the basic elements of the acting craft, using Stanislavsky's Method and scene and monologue work as starting points. In conjunction with these classes, students participate in courses aimed specifically at training the actor for the arduous requirements of acting on a film set.

The Acting for Film Workshop meets Monday through Friday, every day. Students should be prepared to devote 9-5 to workshops and exercises and additional hours in the evenings for rehearsal.

Every student shares the same curriculum. Much time is spent focusing on scene study, voice, and movement. Classes work to break down physical and internal inhibitions, and help the student find the most effective personal sources for the creation of truthful characters. Students should be prepared to work in non-traditional acting classes emphasizing the construction and control of character given the unique pressures of a film or television shoot. Film or video cameras may be used during particular classes.

One additional advantage to being housed within a film school is that the acting program takes full advantage of the numerous films being shot year round. Student films are being written and produced literally down the hallway. Though not required, many acting students get invaluable experience in front of the camera by being cast in student productions. Students are able to compile reels of filmed scenes to use for future casting purposes.

Course Description:

Enrollment

As in all the workshops, serious students from all backgrounds are welcome to apply. The program encourages enrollment of students from all parts of the US and from all over the world. NO previous acting background is required. As on the professional film set, actors from varying backgrounds and skill level work together, embracing the craft with a beginner’s mind and an attitude of contribution. Students must be willing to apply themselves to the rigors of the curriculum. This will lead to finding within themselves previously undiscovered stores of energy, inspiration and creativity.

Curriculum

This intensive program features top-notch instructors committed to the highest standards. Participants are coached to have breakthroughs in the execution of their craft and in their personal creativity. Students are encouraged to challenge themselves and step outside their usual comfort zones. This process, when committed to fully, propels actors into new states of competency and ability, establishing a heightened level of artistry. However, it must be stated that no guarantees of work are ever given as no one makes an actor these days. Actors "make" themselves through a steadfast commitment to the craft and by maintaining an unwavering tenacity through each level of their pursuit.

Technique and Scene Study

Students work with published material and learn to create a template for a solid approach to scene work. Technique is addressed through various exercises from Stanislavsky; other methods and techniques may also be introduced to expand the student’s perspective. Professional standards are maintained and students are coached to take their work from ground zero to performance level. Scenes are extensively rehearsed and effective rehearsal techniques are practiced. Class progress is recorded culminating in a final taping. Outside preparation and rehearsal time is required.

Monologue Work

Students work with original and published material, preparing monologues for use in auditions. Class progress is taped and the emphasis is on creating an audition reper toire designed to highlight the student’s individual talents. Outside preparation and rehearsal time is a requirement of this course.

Cold Reading / Auditioning Techniques

Students are challenged in life-like audition setting. The cold reading process is drilled and students work with a casting director to hone and refine their auditioning skills. This class prepares actors for handling the often nerve-racking experience of auditioning. Outside preparation is a requirement of this course.

Improvisation

Students are introduced to the challenging and delightful realm of improvisation. Through various exercises and situations, skills and instincts are developed which prepare the student to sharpen their instincts and integrate technique with inspiration.

"People? I ain't people. I am a shimmering, glowing star in the cinema firmament."
- Singing in the Rain

Children do not need 'method' acting classes. Exposing children and teens to adult acting techniques is not appropriate. Children need to play, and live their lives. They need to be protected from the media and educated. Keep them away from television! Sending them to a Waldorf school will nurture their creativitity. Spend time with them and tell them the truth about your life. Read the autobiographies of Laurence Olivier, Vanessa Redgrave, Elizabeth Ashley, Shelley Winters or Elia Kazan. Listen to Jodi Foster. Are you sure you want your kids to go into show business? Instead of spending money on drama classes take your kids to London or New York so that they can see some live theater. click here for a real eye-opener SM

The Method

This course teaches acting technique according to Stanislavsky's “System” as developed by the Actor's Studio as the “Method”. The technique incorporates relaxation and sense memory training (access of emotions through direct sensory stimulation in the moment) to guide students towards a personal and honest creation of the foundations of character.

Acting for Film and Television

Central to the workshop, this class teaches students how to overcome the technical and stylistic demands made on actors working in films and television. What do actors do when they are thrown into the maelstrom of the set? How must performances be adjusted when a few feet from the camera and crew, instead of a theater audience? How do actors move to precise marks and deliver the same line take after take and make it real each time?

Relaxation methods and scene analysis will be taught as they apply to film and television acting. Scenes from film scripts will be analyzed for blocking. The class covers how actors must maintain a consistent emotional through-line from scene to scene, even while shooting out of sequence. Other topics addressed include imaginary eyelines, the actor's business in the film world, and understanding the responsibilities and challenges of the crew on set.

Exercises on video help students develop techniques for rehearsing, reading, auditioning, and creating a meaningful performance before the camera.

Film Craft

This class introduces acting students to the language and grammar of filmmaking. This includes an understanding of shot language, eyelines, screen direction, camera movement, and lighting. Film Craft aims to help the actor communicate more effectively with directors and increase their understanding of the film medium.

Scene and Monologue Work

Students work with original and published material through an application of The Method. Scenes are extensively rehearsed and performed. Students receive critiques and adjustments from the instructor and fellow students.

 

Voice

In Voice and Singing class, students are taught a repertoire of exercises that increase mental and physical awareness, improve body alignment, and stimulate natural, reflexive breathing. Students study how to open channels in the body that control the vibrations, resonance, and range of the human voice.

Yoga for Actors

Yoga can be used as an invaluable addition to the actor's craft, helping to develop the actor's health and physical and spiritual relaxation abilities. Yoga warms the actor up for the day's work. Through Yoga, the body/mind can be brought into a state of balance and clarity, allowing the actor to more effectively find and be his or her character.

Voice and Movement

Non-singing voice exercises explore and tone the voice along with movement exercises designed to fully integrate the physical and emotional aspects of the actor’s instrument.

Audition Techniques

This class prepares actors for handling the often nerve-wracking experience of the audition.

Additional classes may be offered in the following topics, depending on the workshop date:

Celebrated actors and industry professionals discuss their craft with students in lectures and question and answer sessions.

Shakespeare's Method

Using the First Folio of 1623, students learn to uncover Shakespeare's directing intentions in the text. Traditional Shakespearean scene study, balanced with modern analysis and training techniques, enable the actor to create characters that are exciting and real.

The Alexander Technique

Hands-on work in the Alexander Technique will help students free the body and uncover its innate coordination, grace, and ease.

Comedy

Students will explore comedy through improvisation, scenes, stand-up and musical comedy. Students will come out of the class with a comic piece useful for auditions and performance.

"To be nobody but yourself, in a world which is doing its best night and day, to make you like everybody else, means to fight the hardest battle which any human being can fight and to never stop fighting." Goethe

i.e. only your love and passion allow the real you to survive, no question! -F.H.-

Learn classic "Method" Techniques as discussed on Bravo TV's "Inside the Actors Studio"

  • Sense Memory/Emotional recall
  • Improvisation
  • Scene Study
  • Eastern European and American 'Stanislavsky' technique

 

 

As I said, the table you see on the right (like this one) are for my sidenotes. I have to comment on my own pages in order to improve the.

Historical Comment:
I always hated Stanislavsky's writing, but I teach Method/System. Since I gave up on reading him long ago, you may consider my interpetation as my own brand. What is important that actor should have some tools for self-improvement and I ephasize self.

As a director I suffer seeing so many actors uncapable of working with themselves without being directed. I believe in self-directing and that is what I teach in Advanced Acting Classes.

Actors is an artist and every artist is always alone. The only help you can expect is from God and yourself. If lucky, from a director or instructor...

Discussion Lists:

3 Sisters

Directing'Y2K

Dramatic Literature

Method acting is the general approach to acting used by most modern American actors. This approach is based upon the idea that actors should achieve a detailed emotional identification with their characters. Actors try to think and feel what their characters would think and feel. Method acting tries to help actors create truthful and deeply felt performances.
The major features of Method acting are taken from the teachings of Russian stage director Konstantin Stanislavski. In 1931, the Group Theatre was organized in New York City by Harold Clurman, Lee Strasberg, and Cheryl Crawford. Using Stanislavski's ideas, the Group developed acting techniques over 20 years marked by lively experimentation and passionate debate. In 1947, several former members of the Group founded the Actors Studio as a place where professional actors could continue to refine their skills. Under Strasberg's direction, the Actors Studio became the most influential American home of Method acting.
Robert Lewis was a founder of the Actors Studio. His book Method or Madness (1958) describes many techniques and exercises of Method acting.
Online - Method acting [Article] System

 

Stanislavsky

Necessary, unless the talent is major...-F.H.-

He is not a director (read Chekhov's letter). He is a head-actor, master-actor -- the old tradition, when the most experienced and smartest teachs the new ones. There are no directors in cirus. Stanislavsky developed his system the under house arrest at the time when Moscow Art Theatre couldn't do anything besides socialist realism. a lot of Russian artists uder Stalin turned to theory in order to stay alive.

Stanislavsky (Alexeyev) wasn't an artist, but a craftsman. His method is not an invention but a discovery of what was used from the beginning of time. "Psychological realism" makes sense because only feelings are the reality. The only material I, the spectator, can use -- my own feelings, memories, experiences. So, Stanislavsky advises actor to do the same.

My dear actor!
Don't wait for your luck -- learn directing to manage yourself in order to direct others -- the public. That is what I do, when I direct shows -- I direct my feelings and thoughts.

When I write plays, I use the same method -- I become a character without forgetting myself. Of course, the character is "me" -- and more. "Identification" is a long word, but the only ground for dramatic experience. It's ME, who must be in the middle of action, I am on stage! Actor uses a role to extend his natural status of being a spectator. He makes an extra step by becoming a new being.

I wish I could have time to translate the best of the century's philosophy into theatrical terms. The existentialists defined it all -- being and becoming, becoming as being an so on. Theatre folks are too busy to read fat books, othewise they would know the philosophy behind the techniques.

Stanislavsky himself didn't read much and had no idea what Heidegger was writing. But all Russians read Nietzsche and a lot in the Russian Thought follows the tradition of the revolt against modernity and humanity.

Stanislavsky directed Chekhov's plays, didn't he? Chekhov is the great nihilist of all times, the one Nietzsche tried to fight. Chekhov is a demonstration of Neitzsche's paradox -- the conflict between Will To Power and the Eternal Return concept.

The Return annihilates TIME and paralizes WILL. It turns each of us in a babble, when we live in one and only world of SELF.

Obviously, Stanislavsky teaches to study this territory -- the self. Being is Becoming, nothing else. Only Becoming is Being. And here is where "will" is coming into action. It's Self-Willing, getting control over your own Self, known in acting theory is a mastery of emotions, body, voice, etc.

Theatre like everything else is about CONTROL and as every power it starts with the power over yourself. Actor is a master of his own moods! He is happy, when he commands himself to be happy. He is angry when he willing so. He is a creator of his feelings!

What a picture! What a spectacle to watch!

 

"What exercises resemling solfeggi are needed by him? What scales, what arpeggi for development of creative feeling and experience are required by the actor? They must be given numbers... for systematic exercises in the school and at home. All books and works of the theatre are silent on this score. There is no practical textbook." (My Life in Art, 166-67)

Russian Pages:
Hits Links
4 Mailing List & News: subscribe!
http://egroups.com/group/2002plus
3 My New Plays in Russian
http://plays.vtheatre.net/title.html
12 Theatre Books
http://vtheatre.net/books/russia.html
17 Russia: Theatre Today
http://afronord.tripod.com/thr/russia.html
60 Eisenstein
http://afronord.tripod.com/eisen.html
85 Stanislavsky & Method
http://method.vtheatre.net
34 Meyerhold & Biomechanics
http://afronord.tripod.com/biomx/title.html
9 Gogol
http://shows.vtheatre.net/gogol/intro.html
10 Russian-American Theatre
http://afronord.tripod.com/rat/title.html
49 Shows: 3 Sisters
http://shows.vtheatre.net/3sisters/intro.html

Next: method