1. Part 2: The Performers and the Director
Acting

2. “All the World’s a Stage” William Shakespeare As You Like It Spoken by the melancholy character, Jaques,  in Act II Scene VII of the pastoral comedy play
All the world’s a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages.
Do we act in everyday life?
At what age do we start acting?
Does it ever really end?
How is performance acting different?

3. At first, the infant,
Mewling and puking in the nurse’s arms.
Then the whining schoolboy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school.
And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow.

4. Then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honor, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth.
And then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part.

5. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side;
His youthful hose, well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound.

6. That ends this strange eventful history,
Sans = without
Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
Lines  This poem is in the public domain.

7. Acting in Everyday Life
Social Roles
Imitation
Role Playing
Personal Roles
Imitation: To stimulate or copy behavior observed in real life
Role Playing: In everyday life, the acting out of a particular role by copying the expected social behavior of that position
Personal Roles: in our family, at work and etc.

8. Acting in Life vs. Acting on Stage
Three Challenges of Performance Acting
To make characters believable—inner truth
Physical acting—the use of the voice and body
Synthesis and integration—combining inner and outer skills

9. The Stanislavski System: A Technique for Realistic Acting

10. Stanislavski on left: Both Actor and Director

12. Stella Adler: Stanislavski’s student and famous acting coach
[Paraphrase]
“Even the eloquent words of Shakespeare are dead on the paper in the script. They only come alive when an actor empathizes and recreates the emotion of the words in physical space before an audience.”

13. The Stanislavski System: A Technique for Realistic Acting
Relaxation
Concentration and observation
Importance of specifics
Inner truth: What if? “The magic if”
Relaxation: Actor must eliminate unwanted tension and must attain at all times in a state of physical and vocal relaxation (much like a professional singer)
Concentration and observation: Actor must concentrate on a “circle of attention” focusing on some object, person or event while on stage
Importance of specifics: Never act in general, always emphasize details and specifics. Never be vague. In life, for example, an anxious woman twists her handkerchief or an angry boy throws a rock and etc. Conceive the situation of the character which Stanislavski referred to as “the given circumstances”. What is the temperature of the room the character is in; is it formal or informal and etc.
Inner Truth: The character’s thoughts and emotions. The outer words and action are not as important as what the character is feeling inside at the time of the situation on stage. A character may not verbalize what they really feel and the actor must portray that. The actor asks, “What if” or what Stanislavski called “the magic if” which is Stanislavski’s acting exercise which requires the performer to ask, “How would I react if I were in this character’s position?” The word “if” becomes a powerful lever for the mind; it can lift us out of ourselves and give us a sense of absolute certainty about imaginary circumstances.

14. The Stanislavski System: A Technique for Realistic Acting
Action on stage: What? Why? How?
Through line of a role or “super-objective” of the character
Ensemble playing
Psychophysical action & Emotional recall
Action on stage: What? Why? How?: All action on stage must have a purpose. Ex. Character picks up a letter and opens it– What? Letter; Why? Afraid it might have damaging info about the character; How? Opens it up anxiously and fearfully because of what might be in it and the effect it will have on the character.
Through line of a role or “super-objective” of character: Performer must determine what the character wants during the course of the play; the character’s main objective or driving force. This is the “through line” or also called the “spine”. These can be divided further into “beats” or units inside a scene. Each unit or beat has an immediate objective that contributes to the whole or grand objective of the character in the play.
Ensemble playing: Performers/actors playing characters are always interacting on stage whether they have a line or not. Actors loose the audience when they “fall in and out of character” “waiting” for their next line. Ensemble playing is acting that stresses the total artistic unity of a group performance rather than individual performances.
Psychophysical action: Purposeful actions by an actor can lead to the character’s emotional state and feelings.
Emotional Recall: Stanislavski’s acting exercise to help the performer present realistic emotions of the character whereby the performer feels the character’s emotion(s) by thinking of the conditions surrounding an event in the actor’s own life that led to a similar emotion. For some actors, it became too real.

15. The Stanislavski System: A Technique for Realistic Acting
Psychophysical Action & Emotional Recall
Stanislavski later improved on his way of thinking and saw balances between action and emotional recall.
He then emphasized that action and emotion were more important than even the words of the script because the words only come alive by the actor’s performance.

16. Later Developments of the Stanislavski System for Realistic Acting
Three current approaches to training actors:
Uta Hagen – “Respect for Acting”
Emphasized the healthy balance between emotional recall, memory in general and not being overwhelmed by past emotion but rather using it as a springboard into the action of the play.

17. Later Developments of the Stanislavski System for Realistic Acting
Three current approaches to training actors:
Robert Cohen – “Acting One”
Emphasized the use of text as an instrument of action rather than the source.
“Content—less Scene” is an exercise where actors memorize a line and then use those words with different circumstances surrounding the scene. Students learn that words are not as important as the meaning behind them and must use those to further the action of the play.

18. Later Developments of the Stanislavski System for Realistic Acting
Three current approaches to training actors:
Robert Benedetti – “The Actor at Work”
Focuses on the actor’s body and how performers’ can use it to help shape character. Uses exercises that allow the student to explore elements of rhythm, time, weight, intensity and space through improvisational work.
He emphasizes starting with the outside (physical aspects of a character) and use it to define the character’s inner life (emotion). Example: “Mrs. Doubtfire” – Robin Williams
Other examples:
Dustin Hoffman in “Rain Man” as an autistic brother and “Little Big Man” where as an old man, he tells of his youth growing up in a Native American family in the old west. He portrays a young character at the beginning of the movie and then moves through stages to an extremely old character at the end of the movie. (Makeup and the study of movements, gestures, timing and etc. as described in “The Actor at Work” helped him portray his characters.)

19. Later Developments of the Stanislavski System for Realistic Acting
And

20. Later Developments of the Stanislavski System for Realistic Acting
One Actor… Many Faces… Different Emotions
Later Developments of the Stanislavski System for Realistic Acting
Dustin Hoffman in
“The Graduate”

21. The Instruments of the Performer
Voice:
Classical acting requires learning to speak and project stage verse which requires much of the same vocal power and breath control as opera.
Musical theatre also requires professional singing abilities.
Body:
Physical strength is particularly important in classical drama such as in Shakespeare which requires running up and down stairs or platforms and sword fighting.
Musical theatre also requires professional dancing abilities.
Voice training and body training are important for all actors to learn to control their bodies and minds as a performer.
Many exercises have been developed for this purpose (as warm-up exercises) such as learning to relax and control the voice and the body.
Some contributors to this study were Meyerhold who developed “biomechanics”, Copeau who used mime, commedia del arte and Asian techniques of training and Lecoq emphasized the techniques of a clown figure (like Marcel Marceau’s mimes).

22. Other Global Influences on Modern Acting Techniques
Asian Theatre
Stylization and Symbolism are emphasized in the acting of the classical theatres of India, China and Japan.
Elements of formal ballet, pantomime and sign language are prevalent.
“Tai chi” (Asian martial arts discipline) is used as a graceful, gentle exercise appearing to be carried out in slow motion that requires concentration and body control.
Voice training and body training are important for all actors to learn to control their bodies and minds as a performer.
Many exercises have been developed for this purpose (as warm-up exercises) such as learning to relax and control the voice and the body.
Some contributors to this study were Meyerhold who developed “biomechanics”, Copeau who used mime, commedia del arte and Asian techniques of training and Lecoq emphasized the techniques of a clown figure (like Marcel Marceau’s mimes).

23. Other Global Influences on Modern Acting Techniques
Japanese Theatre
Japanese director, Tadashi Suzuki, borrowed from ancient Japanese practices to develop an acting training technique that emphasizes the connection between the feet and the ground underneath. We call this being “grounded” and “centered” which helps the actor stabilize and control themselves.
Consciousness of this connection is accomplished by exercises involving “stomping”.
Voice training and body training are important for all actors to learn to control their bodies and minds as a performer.
Many exercises have been developed for this purpose (as warm-up exercises) such as learning to relax and control the voice and the body.
Some contributors to this study were Meyerhold who developed “biomechanics”, Copeau who used mime, commedia del arte and Asian techniques of training and Lecoq emphasized the techniques of a clown figure (like Marcel Marceau’s mimes).

24. Other Global Influences on Modern Acting Techniques
U.S. Contemporary Theatre
Avant-garde choreographer, Merce Cunningham and experimental director, Jerzy Grotowsky contributed to the “Viewpoints Theory” which combines elements of dance and stage movement with concepts of time and space.
Director, Anne Bogart, a chief proponent of the theory, uses it to explore important elements of the theatrical performance such as spatial relationships onstage, movement, and the notion of time and other elements.
Voice training and body training are important for all actors to learn to control their bodies and minds as a performer.
Many exercises have been developed for this purpose (as warm-up exercises) such as learning to relax and control the voice and the body.
Some contributors to this study were Meyerhold who developed “biomechanics”, Copeau who used mime, commedia del arte and Asian techniques of training and Lecoq emphasized the techniques of a clown figure (like Marcel Marceau’s mimes).

25. Other Global Influences on Modern Acting Techniques
U.S. Contemporary Theatre
Reflecting on all of the influences, the term now used is “centering”, a form of “physical acting”.
Centering: A process of pulling together and allowing oneself to eliminate any blocks that impede either the body or the voice.
It involves locating the place—roughly in the middle of the torso—where all the lines of force in the body come together. This helps the actor achieve better balance, freedom and flexibility in body and voice.
Voice training and body training are important for all actors to learn to control their bodies and minds as a performer.
Many exercises have been developed for this purpose (as warm-up exercises) such as learning to relax and control the voice and the body.
Some contributors to this study were Meyerhold who developed “biomechanics”, Copeau who used mime, commedia del arte and Asian techniques of training and Lecoq emphasized the techniques of a clown figure (like Marcel Marceau’s mimes).

26. Theatre Spaces and the Actors Exercise #3
Experience Stanislavski’s style of “getting into character” exercises.
Get into groups and try saying the following line to each other considering different circumstances.
“I’m thirsty. I need water. Get me some water.”
In a desert, after a long journey, to a stranger. You are finally safe from harm.
In a palace, at a formal dinner, to a servant. You are trying to impress your friends concerning your wealth and station in life.
In your living room at home, while watching TV, to your spouse. You just don’t feel like getting up but you want to be persuasive.

27. Theatre Spaces and the Actors Exercise #3
Experience Stanislavski’s style of “getting into character” exercises.
Get into groups and try saying the following line to each other considering different circumstances.
“I’m thirsty. I need water. Get me some water.”
Invent other circumstances by choosing a place, a time, to whom you are speaking, and your reasoning or current circumstance.
Discuss with each other and the class your experiences. Then write what you have learned about acting techniques and how this acting exercise might help a performer understand better about how to “get into character”.

28. Theatre Spaces and the Actors Exercise #4
Experience and explain the difference for an actor, audience and director on performing a scene in different “stage spaces”.
Use the previous scenario “I’m thirsty” to adlib a short scene in front of the class who will take the roll of the audience in different theatre spaces i.e. proscenium, arena and thrust
Discuss with the class about the experience and what it was like to experience different theatre spaces from the actor, the audience and the director’s point of view. Then write a short paragraph about what you learned concerning the affects of different theatre spaces on a performance.

29. Theatre Spaces and the Actors Exercise #5
Discuss and explain the best “stage space” to perform different types of plays.
After a short class or group discussion, write a short paragraph or two explaining the best “stage space” to use for different types of plays. Use the following as examples:
Musical theatre such as “Lion King”
Shakespearian play such as “A Midsummer Night’s Dream”
A contemporary drama such as “Fences”
An experimental theatrical performance with intimate scenes

30. Two Semester Group Projects Explanation of Group Projects 1 and 2
Choose a scene from an approved play to work on the different aspects of theatre, including acting, directing and designing.
Group Project 1:
Throughout the semester you will design a set, costume, lighting and sound for your chosen scene. At the end of the semester, your group will present your final renderings and other design work. Each person in your group will explain how you analyzed the play and the scene to come up with your designs. Each person should report on at least one aspect of the designs.

31. Two Semester Group Projects Explanation of Group Projects 1 and 2
Choose a scene from an approved play to work on the different aspects of theatre, including acting, directing and designing.
Group Project 2:
Your group will present a performance of your scene to the class at the end of the semester. Decide on the theatre space you choose to perform your scene.
Distribute responsibilities for performance jobs: at least two actors, a director, a stage manager and prop director, lighting, sound and stage crew as appropriate.
Perform the scene for the class and be prepared to analyze your group and the other class groups’ performances from an audience/critic’s point of view.