Introduction to Acting

What is acting? Is it real or is it phony? The ability to create complete reality while on stage.

Function of the Actor Take the character created by the playwright and turn him into a living breathing human being The Actor is the artist Character is the work of art

Two Approaches to Acting External: Create the character through external signs: gestures, posture, body language. Internal: The character grows from within the actor

Delsarte System Created by Francois Delsarte (1811-1871) He believed a character’s emotions could be projected by a formal set of gestures, postures and physical attitudes Popular in the late 19th century Used by the American Academy of Dramatic Arts and Emerson’s School of Oratory

Constantin Stanislavski (1863-1938) Russian Actor Director of the Moscow Art Theatre Developer of “The Method” approach to actor training Author of four books on acting

Lee Strasberg (1901-1982) The Actor’s Studio was founded in 1947 by Elia Kazan Master Teacher: Lee Strasburg First major Broadway production to use “The Method:” A Streetcar Named Desire Directed by Elia Kazan Stared Marlon Brando, the Actor Studio’s first major “star”

The Stanislavskian Method Trained body and voice Know stage technique Skilled observer of life Analyze the script Emotionally involved with the character Concentrate on the character Continually work on your art

Trained Body and Voice Body must be able to respond to the demands of the character Actor must be able to project to the back of the house Acting should appear to be “effortless” Actor takes voice lessons Actor takes fencing lessons

Stage Technique Adapting everyday life to the conventions of the theatre Opening a door Pointing (gesture) Making a turn Talking on the phone Sitting in a chair Firing a gun

Skilled Observer of Life An actor watches people Observation is one of his primary research tools He builds his character (external) from these observations

Play Analysis Text: The lines written by the playwright Sub-text: The meaning behind those lines Spine: The character’s major goal Motivation (Verb): What is the character attempting to achieve with each line of dialogue. Active verbs: To belittle, To challenge, To avoid...

Emotional Involvement Emotional recall: Recalling an experience from your past. The “Magical If”: Asking yourself, “If I was the character, what would I do”

Concentration An actor must concentrate on the character he is creating He must ignore everything else that is happening around him An actor must continually work on his art

An Actor’s Greatest Challenge Make each performance new and fresh Make the audience believe that this is the first time this event has occurred How? By listening and responding honestly