Drama Appreciation \ Drama 1

Notes pp. 357-379

Chapter 12: The Actor

Terms:
Cue - Either a word, sentence, sound, or light signal that tells the actors or technicians to begin their activity.
Stage fright - A freezing of body and mind that makes the actor incapable of proceeding. Based on fear.
Stage business - The activities that the actor does on stage that do not involve dialogue or blocking. Example: pouring tea while speaking, picking up the paper and holding the paper as in reading it, setting the table.
Blocking - The actor’s body movement on the stage. The director gives the actor the blocking. Example: The director tells the actor to move stage left behind the couch, as he says certain lines.
Ensemble - A French term that means together. The actors work in collaboration with each other and everyone involved in the production. Prima Donna and hamming-it-up are not terms that are complimentary to actors.
Discipline - Weekend performances, long rehearsals, early morning makeup calls, and long days require a lot of discipline and little social life.
Acting Development - Goes from character simulation (imitation, "acting the part"), to character embodiment (the actor uses his/her body and voice to become the character), to performing virtuosity (highly developed skills of body and voice techniques). Few actors reach the level of greatness with performing virtuosity. Some actors have a magic charisma that isn’t taught or learned from any actor training school but involves inner confidence and a certain magnetism or presence.
Actor training - Involves the development of the actors instruments. Development of the actors method of approaching a role.
The Actor’s Instruments - Mind, Body and Voice. These must be developed in order for the actor to be able to pursue many diverse types of roles. If these instruments are not developed an actor will continue to be "type-cast".
Type-casting - the actor remains stuck in roles that only are like his/her real life person (age, accent, sex, culture).
Mind, mettle and metabolism must be attended to. An actor needs to eat and sleep well and remain healthy.

Components Of Voice and Speech-
pp. 367 in text
Articulation -
Breathing -
Phrasing -
Phonation -
Projection -
Pronunciation -
Resonance -

Methods of Acting
     1. External method - A calculated, technical presentation of a character. The actor listens and looks at himself/ herself and imitates a character.
     2. Internal method - A personal assumption of a character where the actor embodies the character and expands the psychological implications. Called experiencing the role. Konstanin Stanislavski invented this method in 1880 at the Moscow Art Theatre in Russia. Stanislavski said the actor must "Live the life of the character on the stage".
     3. Integrated method - Using external and internal and any other method that works for the actor.
     Actor’s Studio - Located in New York City and founded by Lee Strasberg and Elia Kazan in 1947. Has trained most of the famous American actors. Uses "The Method" a development of the Stanilavski method.
    Contemporary Theatre involves all kinds of actors and their methods. Some actors prepare for a role using a variety of tactics of voice, body movement, and actions. Some actors deal with the goals of their character by concentrating diligently before performing. All actors must deal with the mode of performance demanded both the director and the dialogue of the playwright.
    The Actor’s Routine: what an actor needs to learn . . .
1. Auditioning - Prepared readings, monologues, or cold readings from a script. Addition technique involves the actor selling her/ himself to the director in order to get the part. If the Actor does not get the part he/she does not act. Musicals require sheet music, a song, and dance routine.
2. Rehearsing - Memorizing the script so that the actor is "off Book" . Long rehearsal periods learning blocking, stage business, and cues. Developing the character.
3. Performing - Weekend performances, and "keeping it fresh". On Broadway shows run 8 to 10 performances a week and some have run for over 4000 performances.
End of chapter 12

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