1. Introduction to Acting

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

3. 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

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

5. 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

6. 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

7. Lee Strasberg ( )
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”

8. 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

9. 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

10. 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

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

12. 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...

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

14. 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

15. 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