tag:blogger.com,1999:blog-7485092516610520672024-03-04T21:11:12.889-08:00The Method Actors Improve your method, all actors welcome, great advice from the best. Fast growing archive from various actors, directors, and teachers. brought to you by The Method Actor's.saske505http://www.blogger.com/profile/16700172474152120201noreply@blogger.comBlogger24125tag:blogger.com,1999:blog-748509251661052067.post-38270783183901370322013-10-28T09:03:00.001-07:002013-10-28T09:03:47.454-07:00Notes on directing for the stage<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-ZA</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:DontVertAlignCellWithSp/>
<w:DontBreakConstrainedForcedTables/>
<w:DontVertAlignInTxbx/>
<w:Word11KerningPairs/>
<w:CachedColBalance/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0cm;
line-height:115%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]--><!--[if gte mso 9]><xml>
<o:shapedefaults v:ext="edit" spidmax="1026"/>
</xml><![endif]--><!--[if gte mso 9]><xml>
<o:shapelayout v:ext="edit">
<o:idmap v:ext="edit" data="1"/>
</o:shapelayout></xml><![endif]-->
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-6Qe-WRbHA-g/Um6JLe4BEjI/AAAAAAAAAC8/_F5f-tTAguU/s1600/Everyman+with+Five+Wits,+Discretion,+Beauty+and+Strength.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://1.bp.blogspot.com/-6Qe-WRbHA-g/Um6JLe4BEjI/AAAAAAAAAC8/_F5f-tTAguU/s320/Everyman+with+Five+Wits,+Discretion,+Beauty+and+Strength.jpg" width="320" /></a></div>
<div class="MsoNormal" style="tab-stops: 123.0pt;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Tahoma","sans-serif";"></span></b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%;">Very
few people are capable of being a good director. Very few! Students may
eventually become very good actors but effective directors are few and far
between. No matter how intelligent, clever or well educated, you need to be a
certain personality type to be able to direct effectively. If a student has a
talent for directing, that ability can be developed over time and become
stronger. A student without inherent directing talent will unfortunately never
become good at it and will end up leaving the actors with little guidance and
no clear direction, causing uncertainty and stress. </span>
</div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%;">So …
if this is not your strong point, focus on the things that are and enjoy doing
those! I can’t do maths or fix a car or write a computer program to save my
life … and it doesn’t bother me … I stick to what I can do and leave those tasks
to others!</span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoFooter">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Tahoma","sans-serif"; font-size: 10.0pt;">There is so much to
be said about directing a stage production! One can never really give enough
guidance to the student actor / director and can only hope that the general
guidelines will be further explored in such a way that the student can find his
or her own style that works. </span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "Tahoma","sans-serif"; font-size: 10.0pt; mso-ansi-language: EN-GB;">Through years and years of being involved in theatre,
I’ve learned how things should be done in order for a rehearsal process to run
as smoothly as possible, without unnecessary waste of time and in order that
the company can work for the best possible end result. </span></b></div>
<div class="MsoFooter">
<b><u><span lang="EN-GB" style="font-size: 10.0pt; mso-ansi-language: EN-GB;"><span style="text-decoration: none;"><br /></span></span></u></b></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%;">As a director, you need to understand that human beings
(all of us!) have been wired to get what we want, when we want it. The human
being is essentially selfish, narcissistic and unconcerned about other people’s
troubles! Not a pretty picture, but there you have it! Acting students,
especially, will manipulate, use blackmail (emotional or otherwise), employ the
blame game – will in fact do anything and everything in order for things to work
out the way we want them to. We wish to be part of the project in order to be
in the limelight … but on our own terms. If we don’t get what we want then
anger, negativity, gossip, bad vibes, talking behind the director’s back in
order to get others on the band wagon and gain leverage, tantrums, playing on
your feelings with a sad little face and a small little voice, etc., will
all be employed to shift your requirements to suit the individual. If you allow
this to change your path you will be in hell for the entire rehearsal process,
so don’t! Ignore these attempts and, if it starts affecting the project, get
rid of the guilty company member soonest … if possible without having to cancel
the show. If most of the company members are doing this, cancel the whole thing
before having to pay lots of money and wasting your time for nothing!</span></div>
<h4 class="MsoNormal" style="text-indent: 18.0pt;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%;">THE
REHEARSAL SCHEDULE</span></u></b></h4>
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%;"></span><br />
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%;">First of all, the rehearsal
process has to be handled correctly. If this is not done, problems and
difficulties will occur as a result.</span><br />
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%;"> </span>
<br />
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">A
definite, <b>written rehearsal schedule</b> needs to be provided to all company
members - preferably for the <b>entire rehearsal period</b>. If the schedule
needs to be worked out monthly for valid reasons, it has to be given to the
company at least a week before it comes into play. This schedule will never be
changed. Company members need to adjust their lives to fit in with rehearsals.
Rehearsals are not to be adjusted to fit in with individual company members’
lives. In order for this to occur, company members need to know when
rehearsals will take place in order to organise their lives around the
schedule.</span></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt;">
<br /></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">Actors
need to understand that, even though dates on which they are not available (due
to <b>work responsibilities </b>or university <b>tests and exams only</b> – no
social activities!) have been requested, they are not entitled to get that time
off. It is not their right – it is a generous privilege to be granted if at all
possible. Nobody will ever ask an actor whether or not it suits them to work on
a certain day in the professional industry. You’re either there or you’re out.</span></div>
<div class="MsoListParagraph" style="margin-left: 0cm; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">If
the above is not done, the entire process will become problematic. Confusion,
looseness of form and lack of structure and control will result. Informing
company members when they are to be available on a week by week or rehearsal by
rehearsal basis results in chaos. They will complain that they’ve already
arranged this or that for that day and cannot change it. They will expect the
arrangements to be adapted to suit them, causing more work for whoever is in
charge of the schedule. If they have to change their other plans they will
become annoyed and negative. This is unfair and unworkable. Chaos!!</span></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt;">
<br /></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">Since
acting is an ensemble art form, working with only one person in a scene that
requires four actors or working with some of the actors in a scene - but not
all - is a pointless exercise in futility. This is <b>never</b> even to be
contemplated. Actors need to rehearse with those they play the scene with – not
with a stand-in or a stage manager reading the lines. They have to hit the ball
back and forth with the actor playing opposite them and nobody else. <b>Don’t
even consider rehearsing a scene without everybody there! </b><span style="mso-bidi-font-weight: bold;">If you want to work on certain performance
issues with an individual actor, this rule does not apply.</span></span></div>
<div class="MsoListParagraph" style="margin-left: 0cm; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">Exercises
to overcome speech patterns (staccato or sing-song, meaningless delivery) are
done with the entire group in a specific scene. It would be pointless to work
with one or some of the people in a scene. <b>Everyone involved must be there</b>.
Focusing on daily activities and sense memory work should help the actor to get
rid of speech patterns also, but then it needs to be done with focus, awareness
and attention and beginner actors may find this difficult. </span></div>
<div class="MsoListParagraph">
<br /></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">Blocking
and daily activities that are worked out with some scene partners absent has to
be repeated, wasting everybody’s time and energy and causing negativity. In
order for integration to take place everyone needs to be there! In order
for the final product to be successful, analysis, performance and work choices,
characterization, etc. need to be worked on with all actors in the scene
present. A loose, out-of-control rehearsal schedule as discussed above will
make this difficult if not impossible to attain.</span></div>
<h4 class="MsoListParagraph" style="margin-left: 18.0pt; text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">DAILY ACTIVITIES</span></u></b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;"> </span>
</h4>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">Method
actors are <b>never </b>without daily activities – <b>never</b>! Actors cannot
stand around doing nothing, staring into space. This causes tension, lack of
focus, speech patterns, indicating and bad work. Activities that are boring,
unmotivated and repetitive are pointless though. Directors are to assist actors
to think as the character to find several possible <b>motivated and logical</b>
activities that will assist in the performance being real and believable and
are things the character would logically do. Activities must add to the
characterization. Beware of actors running around the stage like chickens with
their heads cut off though. <b>Motivate and justify activities</b>.</span></div>
<h4 class="MsoListParagraph" style="margin-left: 18.0pt; text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">PERFORMANCE</span></u></b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;"> </span>
</h4>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">Your <b>main concern</b>
once the blocking and daily activities have been set is <b>acting</b>. This is
an acting school so we need to see real, believable <b>acting</b>. In order for
that to happen the <b>performances</b> need attention and devotion. Directors
need to assist actors (especially the beginners) to find the right work
choices. You stop each time an actor needs to fly in new work for an emotional
shift or new beat. The actor needs to stop and say they need time to bring in new
work. The others continue working on their Method while the actor does
relaxation and sense memory for the new work. When s/he is ready (and only
then), the cast continues with the scene. This is the only way. <b>If this is
not done during rehearsal actors will simply indicate. This is a breeding
ground for speech patterns and bad acting.</b></span></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">9.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">In order for this
work to be done enough rehearsal time needs to be allowed when working on a
scene. Jumping from scene to scene quickly in order to get the technical
aspects right is not enough. At least two hours need to be allowed for each
scene in order to work on <b>performance</b> if it is a short scene and more
time must be scheduled for a long scene. <b>This work on acting dare not be left
to the last few rehearsals! It is of paramount importance and enough time
should be spent on it. </b><span style="mso-bidi-font-weight: bold;">By the time
the show is performed for an audience the actors must be so comfortable with
doing the sense memory work that it almost comes automatically and that they
can get and keep the work easily, no matter what might go wrong on stage. This
demands doing it over and over and over again.<b> </b></span></span></div>
<div class="MsoListParagraph" style="margin-left: 0cm; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">10.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">Light
and shade and speaking like a real human being, as well as getting the actor to
think about what s/he’s saying and why s/he’s saying it, is essential. Actors
need to listen and speak to each other, responding in the moment and hitting
the ball back and forth. Actors also need to know who the character is. In
order for this to occur, specific character choices need to be made based on
the text, with the help of the director. They need to play the intent! It is
the director’s job to make sure that this performance work is done and that
there is enough time spent on doing it, with the director’s input and guidance
and assistance. </span></div>
<h4 class="MsoListParagraph" style="margin-left: 18.0pt; text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">THE</span></u></b><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Arial","sans-serif";">
</span></u></b><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">DIRECTOR’S</span></u></b><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Arial","sans-serif";">
</span></u></b><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">DUTIES – SHAPING THE
PERFORMANCE</span></u></b></h4>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">11.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">The</span><span style="font-family: "Arial","sans-serif";"> </span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">director needs to have a <b style="mso-bidi-font-weight: normal;">vision</b> – ideas about what s/he would like the end-result to be –
and needs to work towards attaining that vision. The vision might change over
time, but there must be one! In order to achieve that vision the director must
have a <b style="mso-bidi-font-weight: normal;">plan</b>. You need to know what
you want to work on before you go into a rehearsal and you must be flexible,
think on your feet to find solutions and have plans how to achieve the results
you wish to set in place. You cannot leave your actors <b style="mso-bidi-font-weight: normal;">rudderless</b> by walking into a rehearsal not knowing exactly what you
are going to do / what you wish to achieve during the time scheduled / how you
are going to work towards achieving it. You cannot expect of the actors to come
up with the solutions to blocking / daily activities / acting problems because
you are not providing <b style="mso-bidi-font-weight: normal;">leadership </b>and
you don’t really know what you want or how to get there. The actors cannot
direct themselves. Listen to their ideas and implement their solutions if these
can work, but the ultimate responsibility is yours. <b style="mso-bidi-font-weight: normal;">You need to be</b> <b style="mso-bidi-font-weight: normal;">in charge of
and lead the process</b>. </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif";"></span></b></div>
<div class="MsoListParagraph" style="tab-stops: 194.25pt;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif";"><span style="mso-tab-count: 1;"> </span></span></b></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">12.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">In
order for you to be capable of the above, you need to be a <b style="mso-bidi-font-weight: normal;">creative thinker and problem solver as well as a strong personality</b>.
You also need to be capable of seeing / hearing when an actor doesn’t understand
or “get” the character, doesn’t have work, has the wrong work, is not thinking
as the character, is not in the zone, has a speech pattern. You then have to be
capable of working with that individual to understand who the character is,
find the right work, get the work, think as the character, get in the zone and
lose the speech pattern. This is your responsibility and you have to <b style="mso-bidi-font-weight: normal;">actively </b>do this job. This means you
need to be involved while planning each rehearsal and every moment during a
rehearsal – thinking, judging, creating, finding solutions, working on problems
until they are solved - actively working with actors by talking them through
challenges, etc. </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif";"></span></b></div>
<div class="MsoListParagraph">
<br /></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">13.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">The
fact that few directors in this industry work this way doesn’t mean that you
should follow their example. Looking at the results they achieve when it comes
to performance means that they are not doing what they ought to do. Working with
good professional actors will make the process easier than working with
inexperienced student actors who still need to learn, but your job remains the
same.</span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif";"></span></b></div>
<div class="MsoListParagraph">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<br />
<h4>
<span style="font-family: Arial,Helvetica,sans-serif;">Written by Stephanie van Niekerk, Director, Method Actors' Training Centre</span></h4>
<h4>
<span style="font-family: Arial,Helvetica,sans-serif;">28 October 2013</span></h4>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-748509251661052067.post-22675619859236207282013-10-16T08:24:00.000-07:002013-10-22T14:26:02.542-07:00Method Fetishes<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-ZA</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:DontVertAlignCellWithSp/>
<w:DontBreakConstrainedForcedTables/>
<w:DontVertAlignInTxbx/>
<w:Word11KerningPairs/>
<w:CachedColBalance/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Calibri","sans-serif";}
</style>
<![endif]-->
<br />
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 13.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;"> 1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 13.0pt; line-height: 115%;">Introduction</span></b></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-1mrX6nIJiWg/Ul6tpWTulFI/AAAAAAAAACs/cd0ccmEmIko/s1600/Debby+Head+Shot_001.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-1mrX6nIJiWg/Ul6tpWTulFI/AAAAAAAAACs/cd0ccmEmIko/s320/Debby+Head+Shot_001.jpg" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Debby Dewes - 4th Year Project</td></tr>
</tbody></table>
<div class="MsoNormal">
<span lang="EN-GB">According to Robert Lewis, author of <i style="mso-bidi-font-style: normal;">Method or Madness</i>, there are many
misconceptions and ‘fetishes’ about Method acting. Some of these come from
people’s own views based on little to no study of the technique, while others
come from misunderstandings or misinterpretations by ‘young’ (unthinking,
inexperienced) actors, while still others come from actors placing too little
or too much importance on certain aspects of the Method </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(Van Niekerk: Solutions to
Problems...Part #1)</span><span lang="EN-GB">. Whatever the case, fetishes are a
reality and it is important for Method actors to avoid falling into these
traps. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 13.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;"> 2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 13.0pt; line-height: 115%;">Method Fetishes</span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;">2.1. Method
as the only answer</span></b></div>
<div class="MsoNormal">
<span lang="EN-GB">Many people believe that the Method is the
be all and end all of acting techniques, and that the only good actors are Method
actors. However, this is not true. As Lewis states: “...I know of great actors
who are completely unaware of it...” </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(Lewis, 1957:4)</span><span lang="EN-GB">. The problem
with this belief is that actors then tend to close themselves off from other
potentially beneficial creative processes. This is in contradiction to what
Lewis teaches when he says: “We must also study all new techniques, thus
constantly expanding our understanding of fundamental beliefs.” </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(1957:74)</span><span lang="EN-GB"> The reality is that there are many techniques for achieving realistic
and truthful acting out there, and although the Method works, it is important
to remember that it is just that, a method, a technique to get the job done and
should not be adhered to so religiously that it stumps creativity and
exploration. Stephanie van Niekerk references <a href="http://www.strasberg.com/" target="_blank">Lee Strasberg</a>:</span><br />
<span lang="EN-GB"> </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm;">
<span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>[The Method] is
not a ‘paint-by-numbers technique to be sheepishly followed by those who are
without talent, creativity and acting ability. Creating the character, telling
the story, playing not only the scene but also the intent (of the character and
the dramatist/script writer) is the actor’s job and can certainly be done
without using Method acting. (Van Niekerk: Idiot Winds)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Another problem with this belief is that
actors who fall into this fetish, may begin to see themselves as superior to
other actors and may behave as such to others, or even stop attempting to work
as hard because they think the Method will carry them through. No one likes a
know-it-all or worse, a lazy know-it-all and that means that actors with this
attitude may soon find themselves without work. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;">2.2. Method
as a curse</span></b></div>
<div class="MsoNormal">
<span lang="EN-GB">The flip-side to the above fetish is that
many people (usually non-Method people) see the Method as a curse to the
theatre. This fetish stems from various ideas. Firstly, people may believe that
the Method ruins theatre because the actors’ focus is inward, rather than on
creating a character or playing a scene. I will elaborate on this idea later.
Another idea is that the Method is limiting; that it can only be used for certain
types of roles but is meaningless for others. The biggest argument for this
comes in the form of ‘stylised theatre’ – that is to say works like
Shakespeare, pantomimes, farces and so forth – where the acting ‘needs’ to be
over-the-top. I say ‘needs’ because although acting in these kinds of plays
does require a certain ‘largeness’, that does not negate real feeling, instead,
“what the Method helps [actors] to do is to make what the character experiences
real, believable, truthful and honest.” </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(Van Niekerk: Idiot Winds)</span><span lang="EN-GB">. Lewis states: “...Method...is not only for serious playing.” </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(1957:58) </span><span lang="EN-GB">The reality is that the Method is an all-encompassing technique that
addresses both emotional and physical aspects as well as working with (not
against or without) basic technical theatre norms. It is a flawed notion that
the Method hinders creativity and theatricality and is therefore useless in
certain roles. Lewis states: “The work that you have done in preparation [for a
role], the technique you have invested in your creation, should not be a
preventive. If it is, it is worthless.” </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(1957:58)</span><span lang="EN-GB"> He
also<span style="mso-spacerun: yes;"> </span>writes: “...the purpose of a
technique is to stimulate this creative process when you need it...as you need
it...” </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(1957:17)</span><span lang="EN-GB"> The point of using <i style="mso-bidi-font-style: normal;">any</i>
technique is ‘to free the spirit’ </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(Lewis, 1957:20)</span><span lang="EN-GB"> and if it
becomes a hindrance to performance (of <i style="mso-bidi-font-style: normal;">any</i>
genre) then it should not be used. Stanislavsky himself said: “If the System
doesn’t help you, forget it.” </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(Lewis, 1957:54) </span><span lang="EN-GB">Then why bother
using any kind of technique at all? The problem comes in, rather, with the
actor’s inability to apply the techniques properly, than the method or
technique being flawed. If we look more carefully at the above quote from
Stanislavsky: “If the System doesn’t help you, forget it...<i style="mso-bidi-font-style: normal;">But perhaps you do not use it properly</i>.” </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(Lewis, 1957:54, own emphasis).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Finally, there is potentially a fear that
the Method cannot work in a fast-paced environment and is therefore a curse to
the actor in a television series or such. I remember that when I started using
the Method, I couldn’t see how it would be at all possible to prepare for an
hour in order to get ‘work’ in the film or television industry. But the reality
is that the longer you work on the Method and the more you understand how it
works, the less time you need for your body to respond to your ‘work’. Actors
who ask for motivations or spend hours in preparation and cannot think on their
feet and change their Method work accordingly either have a flawed
understanding of the Method, or have not spent enough time perfecting their
responses and techniques. That, then, is not the Method’s fault, but rather the
inexperienced actor’s, but this tendency brings the Method into further disrepute
with those who do not know much about it.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;">2.3. Method
equals mumbling</span></b></div>
<div class="MsoNormal">
<span lang="EN-GB">One of the biggest complaints about Method
actors is that they mumble. This, however, is not what the Method teaches.
Stanislavsky himself focused a lot on voice placement and projection </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(Lewis, 1957:4-5)</span><span lang="EN-GB"> as Lewis writes: “Stanislavsky...did not...decide to formulate a
system for mumbling...” </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(Lewis, 1957:5)</span><span lang="EN-GB">. In fact, he makes it
very clear that voice placement is critical to a good performance: “...you
should be able to place your voice where you want it for purposes of character</span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">.” (Lewis, 1957:43)</span><span lang="EN-GB">. <span style="mso-spacerun: yes;"> </span>The fact is that there are
many non-Method actors who mumble and many Method actors who don’t. So why,
then, does the Method illicit this belief? Lewis relates this inability by some
actors to articulate properly to the ‘fetish some people make of emotion’ </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(1957:67)</span><span lang="EN-GB">. He writes that there are two types of people with a fetish about
voice and emotion:</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm;">
<span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">...people who think a beautiful voice or good diction
cannot be achieved if disturbed by real feeling and, conversely, those who
think real feeling cannot arise if it is disturbed by considerations of voice,
diction, or other problems of physical characterization. (1957:67)</span></div>
<div class="MsoNormal">
<span lang="EN-GB">This is to say that some actors incorrectly believe
that when they are expressing true emotion, they cannot (are incapable of)
speak with clear diction, pronunciation and adequate stage volume. This is a
complete myth. If they are truly incapable of doing so, it means they have no
control over their body and are swept away by their emotional response.
However, we all know that we are perfectly capable of controlling our bodies
and emotions in equal measure – we do it all the time in real life. It simply
means that the actor is too lazy to bother implementing theatrical necessities –
and by that I mean too lazy to concentrate on what needs to be done – to fulfill
a role completely. And a role is never complete if an audience cannot hear what
is being said. Talking properly does not automatically cause ‘indicating’ and
it certainly does not negatively influence emotional expression. So actors –
regardless of whether they are Method or not – need to be able to hone in their
concentration and willpower and embrace all their training and techniques to
perform properly. There is no excuse for mumbling. And it certainly isn’t
Method.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;">2.4. Method
as secretive</span></b></div>
<div class="MsoNormal">
<span lang="EN-GB">The reason why this fetish exists is
because there are many people who do not understand what the Method is. It also
relates to those actors that I’ve previously mentioned who believe that the
Method is the be all and end all of acting. Some people follow the Method as
though it were a religion; or a special cult for the ‘above-average actor’. Lewis
refers to them as the ‘True Believers </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(1957:6)</span><span lang="EN-GB"> and describes them
as: “...the insular ones. They feel part of a holy order, and all outsiders are
infidels.” </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(1957:6)</span><span lang="EN-GB"> They are the ones who religiously put into practice all that
Stanislavsky teaches, right down to only ever using the ‘correct’ terminology
(which I will address in more detail later), but can often fail in actually
creating ‘art’. As Lewis writes: “Dogma may be all right in some quarters, but
it doesn’t agree very well with artists...an artist’s study goes into his being
and then comes out some way, unconsciously, in his work.” </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(1957:8).</span><span lang="EN-GB"> The strict, dogmatic adherence to <i style="mso-bidi-font-style: normal;">technique</i>, then, makes the Method foreign and strange to those on
the outside. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">There is truth in the fact that many Method
actors prepare for their work in private, and the techniques used in the Method
are mostly internal (such as affective memory) which does lend itself to a kind
of ‘secretiveness’. But the Method is not some mystical magic trick to make
actors act, and if people were more open to learning about what Method actors
do for preparation, they would find that many actors are willing to share
information and talk about what they are doing. Unfortunately the combination
of ‘strict adherers’ and ‘false prophets’ (those who claim to know the Method,
but don’t) aid in perpetuating this idea of secrecy.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;">2.5. Method
as ‘un-theatrical’</span></b></div>
<div class="MsoNormal">
<span lang="EN-GB">I have already touched on this fetish under
previous headings, but it is important to note that this fetish is one of the
biggest reasons for criticism of the Method. People believe that Method actors
cannot be theatrical due to their Method training. That these actors are so
focused on real emotion that they cannot deliver free expression, move around a
stage without being given reasons or play any roles that are ‘larger than
life’. This is false as Stanislavsky himself made the physicality of a role as
important as the inner life of the character. The easiest way to explain how
the Method can be used for ‘big’ roles is that the Method actor would do all
the physical requirements – the loud voice, and all the necessary ‘theatre’
acting – but then once he or she has completed that, they will find Method work
to add over the stylization that will make the character real and believable
even though they are big and theatrical. To illustrate this point, Lewis tells
the story the actor Jacob Ben- Ami. He compares his performance of a scene in <i style="mso-bidi-font-style: normal;">The Living Corpse</i> to the same scene
acted out by Alexander Moissi (a non-Method actor). He states near the end of
the story:</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm;">
<span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">The effect that Moissi made was stunningly
‘theatrical’. It was a real physical thrill....The effect that Ben-Ami made
with different means was, I maintain, theatrical too. But it was not only
physically exciting; there was an internal thrill to it as well. (1957:12)</span></div>
<div class="MsoNormal">
<span lang="EN-GB">The reason for this difference was because
Ben-Ami managed to make the audience live inside the head of the character; to
feel tremendous empathy and terror for the character. That is not to say that
Moissi did not do a good performance, it was simply that there was a slightly
bigger gap between reality and the audience’s suspension of disbelief. This gap
was overcome in Ben-Ami’s performance due to his at once completely theatrical
approach, <i style="mso-bidi-font-style: normal;">and</i> his additional Method
work.Therefore, Method actors simply use the
Method to add another, beneficial, element or layer to the character.
Stanislavsky emphasises the importance of movement and technical training, and
those actors who disregard these elements needed for the art are not, then,
Method actors, but falsely claiming to be followers of a system they do not use correctly or understand.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;">2.6. Method
as ‘easy’</span></b></div>
<div class="MsoNormal">
<span lang="EN-GB">This fetish comes from that small group of
people who think that attending a short course or a few academic lectures on
the Method makes them experts. They then go out into the field and either claim
to be Method actors or open schools and call themselves Method
teachers/coaches. Lewis warns about this in his second lecture where he states: </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm;">
<span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">I don’t want anyone hearing these talks to go out and
say they studied the Method with Bobby Lewis. And what’s worse, then go and
open a school! That sort of thing has been done, you know (1957:24)</span></div>
<div class="MsoNormal" style="margin-right: 1.0cm;">
<span lang="EN-GB">He goes on to
describe actor training, and specifically Method training, as working on the same
principle as dance lessons. It’s all good and well to know the theory of how to
dance, but without constant, dedicated practice, you will never be a dancer </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(1957:24-25)</span><span lang="EN-GB">. While there are some aspects of the art of acting that can be
learned simply by attending theoretical lectures, the reality is that any
acting course needs to be <i style="mso-bidi-font-style: normal;">practical</i>.
Regardless of the technique an actor uses, they need to have actually studied
it practically as well as theoretically in order to be able to use it – acting
is action, and action is practical. The Method is the same as any other acting
technique, it needs to be practiced. But unlike a lot of other techniques out
there, it takes time to master. The technique of using technical ways of moving,
i.e. covering your eyes to show that you’re crying, holding your stomach while
you laugh, etc. will take a very short time to master. But the Method takes
years to understand and perfect. Therefore, the Method is not ‘easy’. It takes
lots of hard work, time and effort to perfect. A few classes here and there or a
sense memory exercise once in a while does not adequately equip you in being
able to use the Method. And the notion that it does causes many problems for
actors and is one of the greatest reasons for the Method having a bad name.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;">2.7 Method
as purely psychological/emotive</span></b></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="mso-spacerun: yes;"> </span>While
most of the fetishes discussed so far have been with regard to misinformation
or people outside of Method circles, this one pertains to strict Method
followers. These actors have often studied the Method – possibly even for years
– and believe in Stanislavsky’s technique. However, they have missed out on
something vital – the fact that acting is doing, not feeling. Part of the
reason why this might be the case is because there is a lot of emphasis placed
on the psychological and emotional responses and make-up of a character. And
most of the training in Method – such as with sense memory (affective memory,
personal objects, substitutions) – is related to the internal life of the
actor, and hence, character. The reason why there is so much emphasis placed on
training your instrument to respond to sense memory and creating an inner life
is firstly, because it takes a lot of time and practice for your body to learn
how to do this </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(Van Staden: A 4<sup>th</sup> Year Student...)</span><span lang="EN-GB"> Let’s
face it, most of us don’t need much training in how to walk across a stage –
our bodies are used to walking. But our bodies are not used to responding to
things that aren’t there. They’re not used to the concentration and dedication
needed to perform Method tasks. So more training in this area is required.
Secondly, in order to create a real and believable character, any actor –
regardless of whether or not they are Method – needs to have a basic
understanding of the psychology and inner workings and motivations of that
character. If the character is crying, the actor needs to determine why this is
the case, based on external and internal aspects. The Method aids an actor to build
this psychological background and form the needed emotional response and
realism. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">But, and this is a big ‘but’, that is not
the only thing the Method teaches. Actors who wholeheartedly embrace the
Method as a good technique to use, but fail to see it as anything other than
psychological or emotive have, in essence, failed to understand the Method and
Stanislavsky’s teachings. <i style="mso-bidi-font-style: normal;">In Method or
Madness</i>, Lewis provides a handwritten table by Stanislavsky himself which
sets out all the necessary requirements of the Method with regard to fully creating a
character. One half of the table deals with creating the inner life of a
character (circumstances, beats, sentiments etc). It is interesting to note
that already ‘emotion’ only forms a small part of the complete inner process.
The other half – that is <i style="mso-bidi-font-style: normal;">50%</i> -- deals
with a character’s external creation. That means the physical characteristics
and movements, voice placement, actor relaxation and so forth. 50% of character
creation deals with things like blocking, learning lines and physical
activities – looking up, looking down, walking away from another character,
holding hands, whatever. The point is that movement – action – is emphasized in
equal measure. Not only is it important for the actor to develop the external
for a character, but Stanislavsky also notes the importance of general focus on
physicality such as dancing, playing sports and so on in order to develop the <i style="mso-bidi-font-style: normal;">actor</i>; the <i style="mso-bidi-font-style: normal;">person</i> who needs to be able to play any number of characters. There
might be techniques out there that focus purely on the physical, while others
focus solely on the internal, but the Method is not one of those techniques.
Equal importance is placed on purely technical and action requirements as well
as psychology and emotion. It is unfortunate that promoters of the Method fail
to follow the teachings they believe in. If the originator himself did not
negate action, then why should his followers?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;">2.8. Method
terminology</span></b></div>
<div class="MsoNormal">
<span lang="EN-GB">This is another fetish that Method adherers
love to punt – the sacredness of terminology </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(Lewis, 1957:79)</span><span lang="EN-GB">. Lewis states that even Stanislavsky, who made the terminology,
sometimes forewent the term in order to create clarity, or simply because he
found another way of expressing his ideas. As Lewis says: “I was glad to see
that the Master could use improper terminology too – or was it simply that he
was not making a fetish of his own system!” </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(1957:71)</span><span lang="EN-GB">. Focusing
so much on ensuring correct use of words, could possibly lead to ‘outsiders’
seeing Method actors as pretentious. It also takes away from what the actor is
required to do, or covers up the fact that they are not actually doing Method
work: “They learned the terms, and then they used the terminology to cover
their own perceptions which were at times creative, but mostly merely
theatrical.” </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(Lewis,
1957:71)</span><span lang="EN-GB"> Yes, we all know that you have to act the
intent of a character, but if you accidentally use another word instead of
‘intent’, it’s not the end of the world. As Lewis states: ‘I myself don’t care
if you call it spinach, if you know what it is, and do it, because it is one of
the most important elements in acting.” </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(1957:29)</span><span lang="EN-GB">. The
reality is that words are just words, and if one person attaches the <i style="mso-bidi-font-style: normal;">same</i> meaning to a different word to what
the correct term is supposed to be, then they might as well use their word
instead because it will deliver the correct response or end result. Method
terminology is complex and important in aiding understanding of concepts within
the techniques and training, but it is dangerous to focus on the terms so much
that at the end of the day you miss out on what they are there for – to help
you to <i style="mso-bidi-font-style: normal;">act</i>.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;">2.9. Method
as <i style="mso-bidi-font-style: normal;">too</i> analytical (actors can’t play
the scene)</span></b></div>
<div class="MsoNormal">
<span lang="EN-GB">I’ve already spoken at length about the
fact that analyzing the psychology of a character, as well as the play as a whole, is
important. Analysis is crucial in acting. An actor needs to analyze their
character – their motivations, their relationships with other characters – they
need to analyze the words, the subtext of a script. They need to, in other
words, understand the script. But this is true for all actors, not just Method
actors. The problem comes in when actors focus so much on their character’s
internal responses and executing their beats correctly and ensuring that they
do their Method work that they fail to play the scene. Lewis states that this
‘wrong emphasis on certain aspects, at the expense of others’ can lead to
actors lacking any sense of rhythm or movement, and finding it difficult to
play ‘small scenes’ as they are too involved with the ‘crescendos’ </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(1957:77-78) </span><span lang="EN-GB">Another problem is when the actor ‘over-analyses’, that is to say he
or she goes outside of the realms set within the play in order to make sense of
the play. Lewis refers to this as follows: “I feel that often not enough trust
is put in the play...A good play will also play a great deal of itself <i style="mso-bidi-font-style: normal;">by</i> itself if you will let it.” </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(1957:75)</span><span lang="EN-GB"> I remember in my first year of studies, that I struggled to ‘play
the scene’ and communicate effectively with my fellow actors on the stage. There
were so many things to concentrate on, that my focus was constantly drawn to
these things, or within myself, that I failed to do simple things like make eye
contact. My focus (and internal analysis) on technique and my own acting, plus
my ‘over-analyzing’ of a character and the play – instead of just using the
play as guidance enough – caused me to, at times, fail the play. This, however,
stopped once I was more comfortable with what I was doing Method-wise.
Therefore, this fetish exists because of, once again, the inexperienced actor
claiming to be able to do things that they can’t actually do.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;">2.10. Method
as ‘self-indulgent’</span></b></div>
<div class="MsoNormal">
<span lang="EN-GB">This fetish comes from the belief that the
Method is only focused inward. That is to say that people who know nothing
about the Method and the way it works, or those who apply it incorrectly,
believe that the Method is all about the actor. How the actor feels, how the
actor responds to things, how the actor can mould the character in his or her
image. There are many egocentric exhibitionists and narcissistic people in
this industry –some of them may be Method ‘practitioners’, but definitely not
all. A technique for acting cannot be blamed for any individuals’
self-obsession or delusions of grandeur – that is all the individual’s doing.
This fetish probably stems from the other fetish of actors focusing solely on
the psychological aspects of Method, but instead of applying it to fit the
character, they use it for self-exploration and expression. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">There is nothing wrong with self-exploration
and self-expression; in fact, it is always good to have a healthy and whole
image of yourself as it will make you a better actor. And the desire to express
is what leads creative individuals into art forms in the first place. Van
Niekerk deals extensively with the idea that Method training can be used as
therapy </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(Van
Niekerk: Method Acting as Therapy) </span><span lang="EN-GB">because through the
process of learning the Method, actors learn to know themselves. This is due to
exercises possibly highlighting past memories, self-perceptions and so forth
that might need to be dealt with, but that the actor was perhaps previously unaware
of. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">I would like to digress here briefly to
discuss another fetish which is bred from this process – that the Method can
drive people crazy </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(Van Niekerk: Idiot Winds) </span><span lang="EN-GB">or that it is
dangerous and possibly even damaging to individuals because serious matters are
dealt with in an unprofessional or incorrect manner. Now this may be true for
‘Method’ teachers who actually don’t know anything about how the Method should be applied and who may
force information out of their students, for instance. Method training, when
done correctly, may bring to light an issue for an actor, but that issue should
never be discussed or probed into by their coach. Instead, and especially if it
is traumatic, the actor is told to see someone who can help them – like a
trained psychologist. People who have had negative experiences with Method
training in this regard, have either had bad, unprofessional or ill-equipped
teachers, or they might simply be too scared to find out what lies inside their
psyche and this fear prevents them from having a positive learning experience.
As Van Niekerk writes: “Those who are too terrified of what they might find if
they become quiet and connected and therefore get to know themselves, usually
leave the course quickly.” </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(Van Niekerk: Method Acting as Therapy) </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Now, back to the topic at hand: we have
established that inward focus plays an important part in acting training and
character preparation, <i style="mso-bidi-font-style: normal;">but</i> when you
are playing or preparing for a role, it is not the time to psycho-analyze
yourself, or to put yourself centre stage. It is about the character, the
script, the story. You, as a person, are insignificant. It is not about you because you are simply the <i style="mso-bidi-font-style: normal;">vessel</i>
through which the story comes to life. You don’t see a guitar stop a show and
tell the audience, ‘Look at me, I’m a guitar, I’m the reason you’re hearing
amazing music because I’m fantastic’, so why should the actor, who also happens
to be the instrument involved in acting, call attention to themselves in a
role? The Method, when studied and practised correctly, does not promote this
kind of self-indulgence. Everything you do as the actor is in order to tell
the story, and to create a completely different person or character that
fits the story. Any Method actor, or any other, worth their salt knows that the
point of acting is to tell the story. And the Method is there to aid that
process. Yes, the actor uses memories, emotional responses, people and so forth
from their past, yes, there is great emphasis placed on the psychology and
physical development of the actor, yes, there is time spent on inner focus in
the Method, but all that inner work is only ever applied to aid the scene, to
help the actor become the character, not the other way around. People who
(ab)use the Method for self-glorification, clearly miss the point of what
acting is all about and what Stanislavsky desired to achieve through the
techniques he developed.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;">2.11. Method
improvisation</span></b></div>
<div class="MsoNormal">
<span lang="EN-GB">Method teaches improvisation in order to
develop communication, quick decision making, scene development etc. in its
actors as well as to improvise given scenes with the actor’s own words, and
this is where the fetish comes in that Method improvisation takes away from
what the author originally intended for their script. Sometimes, in order to
get into the behaviour of a character, a Method actor (or director) may do the
scene they have learnt, but in their own words. That means that they ‘forget’
the script for a moment and simply focus on playing the scene. This technique
can be used if actors are struggling to find a motivation for their actions, or
to find new actions, or if the actors on the stage struggle to communicate
effectively, have a lack of chemistry and so on. The point of the improvisation
is two-fold. Firstly to fix whatever the problem might be by focusing
specifically on that aspect without the stress of being word-bound, and
secondly, to focus on maintaining the action of the scene. That is to say that,
although the words might not be the same as the script, the intents and purpose
of the scene remain the same. Once the problem is solved, the actors need to do
the scene again immediately with the scripted lines in order to remember the
solutions decided on and then be able to apply those to the actual script, using
the given words. Lewis states: “I believe it should be used sparingly and only
for certain definite results...you get real value from an improvisation because
you are working for a solution to a particular problem.” </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(1957:80-81)</span><span lang="EN-GB">. <span style="mso-spacerun: yes;"> </span>He says this because it is
easy for actors to use improvisation as a way of ‘doing-their-own-thing’,
instead of using the technique for the specific purpose it was designed for,
which is to solve acting problems in order to play the script. Lewis refers to
this as follows: “There is, in my view, the danger that, instead of achieving a
sense of ‘freedom,’ improvisation can lead to a looseness of form. It can lead
to playing ‘yourself’ at the expense of the character...” </span><span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">(1957:79)</span><span lang="EN-GB"> Actors are not meant to ‘do their own thing’, they are meant to
play the scene, using the words and actions provided for them by the writer.
And that is why people have problems with Method improvisation. However, if
managed correctly, the technique can be very effective. And, once again, just
because an actor feels led to improvise their lines, to let their emotions be
freely expressed apart from the script, doesn’t mean that the Method teaches
this kind of unprofessional behaviour. And it also doesn’t mean that only
Method actors do this. There are many actors who have never studied Method, who
will easily improvise their way through a scene because they think they can
write it better that the author. It’s not just a Method problem, and it
certainly is not encouraged by the Method to use improvisation unless it is used for a very specific
reason.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;">2.10. Method
characterization (animal exercises)</span></b></div>
<div class="MsoNormal">
<span lang="EN-GB">Stanislavsky developed animal exercises in
order to aid actors to develop their physicality and provide ways of externally
and visually creating a character. People with a fetish about the way Method
actors go about their characterization, once again, clearly do not understand
why animal exercises would be important. This, for me, is a very odd fetish to
have, because all techniques to a lesser or greater degree emphasize the
importance of the physical nature of a character. Once again, the reason for
this fetish may be because the Method actor is going to an ‘outside source’ for
inspiration instead of focusing solely on the script. Let’s say the script
calls for a character who is very big and loud and aggressive. Now let’s say
that the actor who needs to play this role doesn’t quite fit the part because
they are a bit short and their demeanour is naturally more refined. What animal
exercises allow the actor to do is reproduce movements that are representative
of these outward characteristics while still being able to be believable, real
and honest. They also provide ways to find less stereotypical movements that
would still be correct in their final analysis – what is called playing the
opposite of the obvious – the end result being what the script requires. If an
actor cannot simply provide needed physicality by themselves, then why can’t
they find external sources, outside of the information provided in the script,
in order to be able to produce what the script asks for? And, once again, many
non-Method actors use similar means of creating physicality. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">The bigger issue, then, comes in when
animal exercises are not used for a specific purpose, or in a purposeful and
controlled environment. In essence, then, the people who have an issue with
Method’s animal exercises, probably have these issues for the same reason that
improvisation is frowned upon – there is no purpose and it takes away from the
requirements of the script. As Lewis writes: </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm;">
<span lang="EN-GB" style="font-size: 10.0pt; line-height: 115%;">I have seen people do [an animal] exercise for the
purpose of simply stimulating the imagination of the actor generally and I
think <i style="mso-bidi-font-style: normal;">that</i> is where all the funny
stories come from. I agree that you can go too far in that sort of thing if you
never apply the results practically. But if you have a specific objective in
mind, or something that you are actually going to use in a part and you know
how to incorporate it into acting, I think it is something that is as valuable
as any other kind of characterization work. (1957:83)</span></div>
<div class="MsoNormal">
<span lang="EN-GB">As with all Method fetishes, it is clear
that complete disregard of a technique should be questioned, but at the same
time, incorrect application of the technique may be the reason for the
misconception.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 13.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 13.0pt; line-height: 115%;">Conclusion</span></b></div>
<div class="MsoNormal">
<span lang="EN-GB">As we can see, the biggest misunderstandings
and fetishes about the Method can be categorized under one main heading:
‘Method actors don’t play the script’. And, let’s face it, if you don’t play
the script you are not doing your job. But, as we’ve also established, actors
who cannot be heard, who get swept away on their emotions, who put themselves
before the character, who cannot think on their feet or who are unwilling to
accept any other forms of acting and get so hung up on terminology or technique
that they forget that acting is a creative art form, are either inexperienced,
if not completely unqualified, and should not call themselves Method actors. And actors who
use the Method for purposes other than to create a character and play the given
script – like promoting their own ego –or who find the work emotionally and
psychologically ‘damaging’- have not understood the purpose of the techniques
taught, or have been taught them incorrectly by someone who is not qualified to
teach Method. Fetishes are dangerous as they either limit the actor by creating
under or over emphasis of certain aspects; or create negative stereotypes which
prevent people from trying to learn the truth for themselves; or turn what
should just be seen as a helpful guide and aid for creative acting into a
cult-type religion with followers who worship the process and technique instead of
simply creating the end product, which is the art. There are a lot of
misconceptions out there and many unthinking, unrealistic, inexperienced
‘Method’ actors who perpetuate these false beliefs. It is, therefore, important
to always ensure the work is applied correctly at all times and know what to do to fix incorrect working methods. It is only then that these fetishes will stop.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 13.0pt; line-height: 115%;">4. Bibliography</span></b><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%;"></span></div>
<div class="MsoListParagraphCxSpFirst" style="margin-right: -2.3pt; mso-add-space: auto; mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;">a.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Lewis, R. 1957. <i style="mso-bidi-font-style: normal;">Method or Madness? </i>New York.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-right: -2.3pt; mso-add-space: auto; mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;">b.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Van Niekerk, S. <i style="mso-bidi-font-style: normal;">Solutions to Problems in Applying the Method
Principles #1</i>. <span style="mso-spacerun: yes;"> </span><a href="http://www.methodacblog.blogspot.co.uk/">www.methodacblog.blogspot.co.uk</a></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-right: -2.3pt; mso-add-space: auto; mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;">c.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Van Niekerk, S. <i style="mso-bidi-font-style: normal;">Solutions to Problems in Applying the Method
Principles #2</i>.<span style="mso-spacerun: yes;"> </span><a href="http://www.methodacblog.blogspot.co.uk/">www.methodacblog.blogspot.co.uk</a></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-right: -2.3pt; mso-add-space: auto; mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;">d.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Van Niekerk, S. <i style="mso-bidi-font-style: normal;">Method Acting as Therapy</i>.<span style="mso-spacerun: yes;"> </span><a href="http://www.methodacblog.blogspot.co.uk/">www.methodacblog.blogspot.co.uk</a></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-right: -2.3pt; mso-add-space: auto; mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;">e.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Van Niekerk, S. <i style="mso-bidi-font-style: normal;">Idiot Winds</i>.<span style="mso-spacerun: yes;"> </span><a href="http://www.methodacblog.blogspot.co.uk/">www.methodacblog.blogspot.co.uk</a></span></div>
<div class="MsoListParagraphCxSpLast" style="margin-right: -2.3pt; mso-add-space: auto; mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;">f.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Van Staden, P. <i style="mso-bidi-font-style: normal;">A 4<sup>th</sup> Year Student Shares His
Perspective On Applying Method Techniques During Performance</i>.<span style="mso-spacerun: yes;"> </span><a href="http://www.methodacblog.blogspot.co.uk/">www.methodacblog.blogspot.co.uk</a></span></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-748509251661052067.post-74871816653601817932013-04-22T07:46:00.000-07:002013-04-23T03:37:58.707-07:00Rehearsal Etiquette for Acting Students<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-ZA</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:DontVertAlignCellWithSp/>
<w:DontBreakConstrainedForcedTables/>
<w:DontVertAlignInTxbx/>
<w:Word11KerningPairs/>
<w:CachedColBalance/>
</w:Compatibility>
<w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman","serif";}
</style>
<![endif]--><!--[if gte mso 9]><xml>
<o:shapedefaults v:ext="edit" spidmax="1026"/>
</xml><![endif]--><!--[if gte mso 9]><xml>
<o:shapelayout v:ext="edit">
<o:idmap v:ext="edit" data="1"/>
</o:shapelayout></xml><![endif]-->
<br />
<div class="MsoTitle">
<h2>
<span style="font-family: Verdana,sans-serif;"><u><b><span style="background-color: yellow;"><span lang="EN-US" style="background: yellow; font-family: "Tahoma","sans-serif"; font-size: 18.0pt; mso-highlight: yellow;">REHEARSAL ETIQUETTE FOR STUDENT
ACTORS</span></span></b></u></span></h2>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">When I direct a
show, the preparation work involves reading through the script over and over
again with the actors while: </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><br /></span></div>
<ol start="1" style="margin-top: 0cm;" type="1">
<li class="MsoNormal" style="mso-list: l3 level1 lfo3; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">doing
script analysis </span></span></li>
<li class="MsoNormal" style="mso-list: l3 level1 lfo3; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">discussing
the author’s intent</span></span></li>
<li class="MsoNormal" style="mso-list: l3 level1 lfo3; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">discussing
the author and his or her background </span></span></li>
<li class="MsoNormal" style="mso-list: l3 level1 lfo3; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">discussing
the major themes in the work of the author </span></span></li>
<li class="MsoNormal" style="mso-list: l3 level1 lfo3; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">answering
Questions A – J for each scene in the text </span></span></li>
<li class="MsoNormal" style="mso-list: l3 level1 lfo3; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">discussing
each character’s – </span></span><span style="font-family: Verdana,sans-serif;"></span><div class="MsoNormal" style="margin-left: 54.0pt; mso-list: l0 level1 lfo4; text-align: justify; text-indent: -18.0pt;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: Symbol; font-size: 11.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">*<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span lang="EN-US" style="font-size: 11.0pt;">thinking</span></span></div>
<div class="MsoNormal" style="margin-left: 54.0pt; mso-list: l0 level1 lfo4; text-align: justify; text-indent: -18.0pt;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: Symbol; font-size: 11.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">*<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span lang="EN-US" style="font-size: 11.0pt;">relationships</span></span><br />
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">* motivations </span></span></div>
<div class="MsoNormal" style="margin-left: 54.0pt; mso-list: l0 level1 lfo4; text-align: justify; text-indent: -18.0pt;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: Symbol; font-size: 11.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">*<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span lang="EN-US" style="font-size: 11.0pt;">different intents </span></span></div>
<div class="MsoNormal" style="margin-left: 54.0pt; mso-list: l0 level1 lfo4; text-align: justify; text-indent: -18.0pt;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: Symbol; font-size: 11.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">*<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span lang="EN-US" style="font-size: 11.0pt;">actions</span></span></div>
<div class="MsoNormal" style="margin-left: 54.0pt; mso-list: l0 level1 lfo4; text-align: justify; text-indent: -18.0pt;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: Symbol; font-size: 11.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">*<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span lang="EN-US" style="font-size: 11.0pt;">Who am I?</span></span><br />
</div>
</li>
</ol>
<div class="MsoNormal" style="margin-left: 54.0pt; mso-list: l0 level1 lfo4; text-align: justify; text-indent: -18.0pt;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">I spend about a month on this before I start blocking. The rehearsal period lasts between three
and four months.</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<h3>
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">Student actors often
cause major difficulties while working on a show. Even though I teach them how
to behave correctly as part of the course, some actors frequently lack self-discipline,
willpower, proper work ethics and even the most basic understanding of what is
required of an actor. Some are often lazy, self involved and ignorant,
displaying bad attitude and negativity because they want things their own way.
I have to provide them with the most basic information about correct working
methods again and again. </span></span></h3>
</div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">I am sharing these
principles in order to give prospective actors an idea of what will be expected
of them:</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<h3>
<span style="font-family: Verdana,sans-serif;"><span style="background-color: yellow;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US" style="background: yellow; font-family: "Tahoma","sans-serif"; font-size: 14.0pt; mso-highlight: yellow;">Knowing your Lines, Blocking and Daily
Activities</span></u></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 14.0pt;">:</span></b></span></span></h3>
</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">It is of paramount
importance to stay on schedule as you prepare your performance for opening
night. In order to stay on schedule actors need to: </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><br /></span></div>
<ol start="1" style="margin-top: 0cm;" type="1">
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">Be
prepared to choose the correct <b style="mso-bidi-font-weight: normal;">sense
memory</b> work based on <b style="mso-bidi-font-weight: normal;">analysis</b>
of the script and <b style="mso-bidi-font-weight: normal;">work on it in
rehearsal</b>.</span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">In
order to work on sense memory, the actor needs to first know the <b style="mso-bidi-font-weight: normal;">lines</b>, <b style="mso-bidi-font-weight: normal;">blocking</b> and <b style="mso-bidi-font-weight: normal;">daily
activities</b>. </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">The
actor must be capable of executing the <b style="mso-bidi-font-weight: normal;">lines</b>, <b style="mso-bidi-font-weight: normal;">blocking</b> and
<b style="mso-bidi-font-weight: normal;">daily activities</b> correctly at
the same time without making mistakes or forgetting what s/he is
supposed to say or do.</span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">Only
then can the actor focus on <b style="mso-bidi-font-weight: normal;">performance</b>
and <b style="mso-bidi-font-weight: normal;">truthful response as the
character</b> based on the <b style="mso-bidi-font-weight: normal;">sense
memory work</b> chosen.</span></span></li>
</ol>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">This is part of your
job as an actor, just as it is part of an engineer’s or an architect’s job to
design and / or build structures that won’t fall down. Nobody else can do this
for you. You, the actor, are responsible for doing your job.</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">Should you work in
professional theater anywhere in the world, you may only have three weeks
rehearsal time. Professional directors are not going to sit through countless
rehearsals while the actors are forgetting their lines and blocking. They are
not going to listen to excuses that actors “need to go through the process”
rehearsal after rehearsal while the work stands still because the actors are
not prepared. They will fire the unprepared actors and replace them with others
who do the preparation work at home so the rehearsal process can move forward
and be complete on opening night.</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">Film and TV
directors are not going to stand for it when actors arrive on set not knowing
their lines. There is too little time and too much money at stake. Scheduling
is brutal. Actors come off set at the end of a long day and have to learn their
lines, have a bath, eat dinner, go to sleep and be on set the next morning at 5
or 6 o’ clock. Often one or two quick blocking rehearsals are done and then
they shoot the scene. This means that actors have to be capable of learning lines and
blocking fast and effectively. There is no time for the actors to “go through
the process”!</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">I always hear the
following when students forget their lines while working on scenes in class or rehearsal: <span style="background: lime; mso-highlight: lime;">“I know it! I knew the lines when I
rehearsed at home yesterday!”</span> Well, knowing your lines at home is not
good enough. You need to know your lines while rehearsing and performing the
play:</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><br /></span></div>
<ol start="1" style="margin-top: 0cm;" type="1">
<li class="MsoNormal" style="mso-list: l2 level1 lfo6; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">under
stressful circumstances </span></span></li>
<li class="MsoNormal" style="mso-list: l2 level1 lfo6; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">while
remembering the blocking and activities and </span></span></li>
<li class="MsoNormal" style="mso-list: l2 level1 lfo6; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">doing
sensory work and </span></span></li>
<li class="MsoNormal" style="mso-list: l2 level1 lfo6; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">communicating
with your fellow actors and</span></span></li>
<li class="MsoNormal" style="mso-list: l2 level1 lfo6; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">thinking
as the character while </span></span></li>
<li class="MsoNormal" style="mso-list: l2 level1 lfo6; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">playing
the character and </span></span></li>
<li class="MsoNormal" style="mso-list: l2 level1 lfo6; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">expressing
truthfully </span></span></li>
</ol>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;"> </span><span lang="EN-US" style="font-size: 11.0pt;">This is what actors
are supposed to do!</span></span>
</div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">I don’t particularly
like the idea of what follows. I would much prefer it if actors learned their
lines and blocking organically, while “<b style="mso-bidi-font-weight: normal;">doing”
in rehearsal</b>, rather than being trained like a parrot. Many student actors
I work with don’t seem to have the ability to do it that way, however, so I
unfortunately have to make the following suggestions, against my own better
judgment, in order to get the job done:</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><br /></span></div>
<ol start="1" style="margin-top: 0cm;" type="1">
<li class="MsoNormal" style="mso-list: l5 level1 lfo2; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">Sit
with your script</span></span></li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo2; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">Read
the first line and say it aloud to yourself three times while <b style="mso-bidi-font-weight: normal;">not</b> looking at the script: “I pray
you all give your audience”(from the Medieval Miracle Play, <i>Everyman</i>)</span></span></li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo2; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">Now
read lines one and two together and say them aloud together three times
while <b style="mso-bidi-font-weight: normal;">not</b> looking at the
script: “I pray you all give your audience, and hear this matter with
reverence” </span></span></li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo2; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">Then
add the next line and say all three together three times </span></span></li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo2; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">Then
add line four and say all four together three times</span></span></li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo2; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">Then
the next and the next, repeating all the lines in a speech together, from
line one to line twenty-one, over and over and over again</span></span></li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo2; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">When
you know the whole speech look at the notes you’ve made in your script on
<b> blocking</b> and <b>daily activities</b> for that speech and practice same by <b style="mso-bidi-font-weight: normal;">doing</b> it while saying the lines
until you can do it in your sleep</span></span></li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo2; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">Then
on to the next speech </span></span></li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo2; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">You
also need someone to read your cues to you (the speech before you have to
speak) because you need to learn <b>when</b> you have to say your lines </span></span></li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo2; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">But
what happens if your cue doesn’t come?<span style="mso-spacerun: yes;">
</span>You need to know <b style="mso-bidi-font-weight: normal;">everybody’s
lines</b> so you can solve that problem should it arise. You need to know
the whole script well enough to be able to jump in if a fellow actor loses
it</span></span></li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo2; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">This takes time and
effort but it is the only way to do it if your memory is bad because it builds pathways
in your brain that will prevent you forgetting what you have to say and do. It
will also make your <b>lines</b> and your <b>blocking </b>and <b>activities "</b><b style="mso-bidi-font-weight: normal;">one thing"</b> rather than <b style="mso-bidi-font-weight: normal;">"three
separate things"</b> that you are struggling to coordinate. In the long run it
saves rehearsal time so the process can move forward. You have to do this at
home though – rehearsal time, while the director is sitting there twiddling his
or her thumbs, is <b style="mso-bidi-font-weight: normal;">not </b>the time to
learn your work. </span></span>
</li>
</ol>
<div class="MsoNormal" style="line-height: 115%; margin-left: -36.0pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 115%; margin-left: -36.0pt; text-align: justify; text-indent: 36.0pt;">
<h3>
<span style="font-family: Verdana,sans-serif;"><span style="background-color: yellow;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US" style="background: yellow; font-family: "Tahoma","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-highlight: yellow;">Making Notes and Preparing for Rehearsals</span></u></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 14.0pt; line-height: 115%;">:</span></b></span></span></h3>
</div>
<div class="MsoNormal" style="line-height: 115%; margin-left: -36.0pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: small; line-height: 115%; mso-bidi-font-size: 10.0pt;">You absolutely have to make and date your
notes in the back of your script / book re: everything you’ve been told to do
or change at that rehearsal: your blocking, daily activities and performance
notes, <b style="mso-bidi-font-weight: normal;">before leaving</b> the rehearsal
room. Then you need to work through those notes and practice / prepare before
the next rehearsal or you will be totally lost and waste everybody’s precious
time and end up getting negative and angry with the director. An actor needs to
make notes about <b style="mso-bidi-font-weight: normal;">everything</b> and <b style="mso-bidi-font-weight: normal;">work it through</b> and <b style="mso-bidi-font-weight: normal;">know it off by heart</b> and be capable of <b style="mso-bidi-font-weight: normal;">executing it</b> for the next rehearsal in
order to be <b style="mso-bidi-font-weight: normal;">consistent</b> and
experience <b style="mso-bidi-font-weight: normal;">growth</b>. You need to learn to
<b style="mso-bidi-font-weight: normal;">retain</b> / <b style="mso-bidi-font-weight: normal;">remember</b> and <b style="mso-bidi-font-weight: normal;">repeat</b> the lines
of the play, the blocking, the daily activities, the instructions, the suggestions,
input and guidance you receive from your director. </span></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: small; line-height: 115%; mso-bidi-font-size: 10.0pt;">An actor should never have to be told to do
something or correct a mistake or problem more than once. No director should
have to repeat him or herself to an actor – especially not over and over and
over and over again! It is the actor’s responsibility to be told once and to
then do what s/he has been asked to do every time … until the instruction is
changed! One of the most important abilities an actor needs is being able to <b style="mso-bidi-font-weight: normal;">repeat </b>the work <b style="mso-bidi-font-weight: normal;">exactly</b> - as often as is necessary - once the director has indicated that this is the work required. After blocking has taken place,
rehearsals are there mainly to explore the character / relationships /
circumstances <b style="mso-bidi-font-weight: normal;">based on a thorough
analysis of the play and the character as well as the answers to Questions A -
J</b> and to <b style="mso-bidi-font-weight: normal;">test Method / performance
work</b>. The time is wasted if you regard it as an opportunity to learn your
lines and blocking and therefore arrive unprepared to do what really matters. </span></span><br />
<br />
<h2>
<span style="font-size: large;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-bidi-font-size: 10.0pt;"><span style="background-color: yellow;"><u>Method and Performance Work:</u></span> </span></span></span></h2>
</div>
<div class="MsoNormal" style="line-height: 115%; margin-left: -36pt; text-align: justify;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: small; line-height: 115%; mso-bidi-font-size: 10.0pt;">I’ve asked the following question numerous times
during rehearsal periods over the years: <span style="background-color: lime;"><span style="background: lime; mso-highlight: lime;">“Why are my actors incapable of consistently repeating the
good work I’ve seen them all do at one time or another over the past few
months? What more can I do for them?”</span></span> </span></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-left: -36pt; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: small; line-height: 115%; mso-bidi-font-size: 10.0pt;">It goes without saying that certain things
have to be in place and we always work on these before we start working on
blocking and performance: </span></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<ol start="1" style="margin-top: 0cm;" type="1">
<li class="MsoNormal" style="line-height: 115%; mso-list: l4 level1 lfo5; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: small; line-height: 115%; mso-bidi-font-size: 10.0pt;">analysis of the play and the
character and each scene </span></span></li>
<li class="MsoNormal" style="line-height: 115%; mso-list: l4 level1 lfo5; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: small; line-height: 115%; mso-bidi-font-size: 10.0pt;">playing the author </span></span></li>
<li class="MsoNormal" style="line-height: 115%; mso-list: l4 level1 lfo5; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: small; line-height: 115%; mso-bidi-font-size: 10.0pt;">knowing what the character’s intent
is and playing that intent </span></span></li>
<li class="MsoNormal" style="line-height: 115%; mso-list: l4 level1 lfo5; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: small; line-height: 115%; mso-bidi-font-size: 10.0pt;">motivation and justification </span></span></li>
<li class="MsoNormal" style="line-height: 115%; mso-list: l4 level1 lfo5; text-align: justify;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: small; line-height: 115%; mso-bidi-font-size: 10.0pt;">thinking as the character in the
moment </span></span></li>
</ol>
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: small; line-height: 115%; mso-bidi-font-size: 10.0pt;"> </span><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: small; line-height: 115%; mso-bidi-font-size: 10.0pt;">These aspects go without saying. </span></span>
</div>
<div class="MsoNormal" style="line-height: 115%; margin-left: -36pt; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: small; line-height: 115%; mso-bidi-font-size: 10.0pt;">When it comes to unconvincing, bad acting,
however, the answer to my question never changes: <span style="background-color: lime;"><span style="background: lime; mso-highlight: lime;">“Tell them to do the work.”</span></span> </span></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: small; line-height: 115%; mso-bidi-font-size: 10.0pt;">I tend to make the same mistake with every
show, looking for all kinds of reasons and solutions, wracking my brain to
figure out what the problem is, while losing sight of the one big truth about working
the Method way: If you are not truly <b style="mso-bidi-font-weight: normal;">experiencing</b>
<b style="mso-bidi-font-weight: normal;">sense memory</b> and <b style="mso-bidi-font-weight: normal;">expressing</b> your response to your <b style="mso-bidi-font-weight: normal;">sensory recall</b> freely and honestly – without
<b style="mso-bidi-font-weight: normal;">pushing for an</b> <b style="mso-bidi-font-weight: normal;">end result</b> - you are not doing the work! That is <b style="mso-bidi-font-weight: normal;">always</b> the answer to indicating, speech
patterns, pretending, being withdrawn / without energy or simply “dead”. There
is no other answer and there is no other cure for the problem of bad acting. Also, you need <b style="mso-bidi-font-weight: normal;">ABSOLUTE focus and
concentration</b> to be able to do the work. If you’re thinking or worrying or
concerned about anything other than your acting, <b style="mso-bidi-font-weight: normal;">you are not doing the work</b>.</span></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-left: -36pt; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: small; line-height: 115%; mso-bidi-font-size: 10.0pt;">I’ve realized that the cause for the
inconsistency in performances – the reason why I end up worrying whether my
actors will be able to pull off a show year after year – is the fact that they
sometimes <b style="mso-bidi-font-weight: normal;">do</b> have the work and
sometimes <b style="mso-bidi-font-weight: normal;">believe</b> they have the work
while, in fact, they <b style="mso-bidi-font-weight: normal;">don’t</b>. New
actors often think that they are experiencing sense memory when they are not.
They do not yet know the difference between <span style="background: lime; mso-highlight: lime;">remembering</span> and <span style="background: lime; mso-highlight: lime;">imagining</span> and <span style="background: lime; mso-highlight: lime;">fantasizing</span> and <span style="background: lime; mso-highlight: lime;">pretending</span> on the one hand, and actually <b style="mso-bidi-font-weight: normal;"><span style="background-color: lime;">experiencing with their senses</span> </b><span style="mso-bidi-font-weight: normal;">on the other</span>. I ask them if they have the work
and they believe themselves when they answer in the affirmative – but I can
usually <b style="mso-bidi-font-weight: normal;">see</b> that there is no work -
I know there’s none because, if there were, we wouldn’t be faced with a
problem. Yet student actors often do not
have the awareness and perception to recognize that they don’t know what they
are doing … yet.</span></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-left: -36pt; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: small; line-height: 115%; mso-bidi-font-size: 10.0pt;">If you were to really <b style="mso-bidi-font-weight: normal;">focus</b> and <b style="mso-bidi-font-weight: normal;">concentrate</b> on
experiencing a <b style="mso-bidi-font-weight: normal;">sensory</b> <b style="mso-bidi-font-weight: normal;">reality</b> – even if it is nothing more
than a sense of smell or a snippet of song or a feeling of being in a
particular place – and if you were to <b style="mso-bidi-font-weight: normal;">trust</b>
it and respond to it <b style="mso-bidi-font-weight: normal;">truthfully</b> -
without <b style="mso-bidi-font-weight: normal;">pushing</b> for an <span style="background: lime; mso-highlight: lime;">effect</span> or an <span style="background: lime; mso-highlight: lime;">end result</span> – we will see real
work. But it doesn’t end there. Doing the work entails more. It means really <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">thinking
and responding as the character </i></b><i style="mso-bidi-font-style: normal;">(NOT
as yourself)</i> <span style="mso-spacerun: yes;"> </span>– really <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">responding
to the truth of the moment </i></b>- really <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">listening</i></b> – really <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">talking
to </i></b><span style="mso-spacerun: yes;"> </span>while <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">concentrating on keeping the
sensory experience going in a relaxed way</i></b>. The audience must be able to
see you <b style="mso-bidi-font-weight: normal;">think </b>and <b style="mso-bidi-font-weight: normal;">conceive </b>of the words and thoughts
before you utter them as a character, or they cannot believe that what you are
showing them is real. You can never allow yourself to go on automatic pilot –
never ever. You need to be <b style="mso-bidi-font-weight: normal;">conscious</b>
in order to act! </span></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-left: -36.0pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 115%; margin-left: -36.0pt; text-align: justify; text-indent: 36.0pt;">
<h3>
<span style="background-color: yellow;"><span style="font-family: Verdana,sans-serif;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US" style="background: yellow; font-family: "Tahoma","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-highlight: yellow;">But I’m not having fun</span></u></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="background: yellow; font-family: "Tahoma","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-highlight: yellow;">!</span></b><span lang="EN-US" style="background: yellow; font-family: "Tahoma","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-highlight: yellow;"> <b style="mso-bidi-font-weight: normal;">(<i style="mso-bidi-font-style: normal;">Ah, woe! Poor me!)</i></b></span></span><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 14.0pt; line-height: 115%;">
</span></span></h3>
</div>
<div class="MsoNormal" style="line-height: 115%; margin-left: -36.0pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-bidi-font-size: 10.0pt;">Please
do not expect to</span></i><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-bidi-font-size: 10.0pt;"> <i>have fun</i>, unless <b style="mso-bidi-font-weight: normal;">fun</b> is defined by you as hard work!
Children doing school plays have fun. Amateurs acting for an amateur group have
fun. Adults studying at a professional acting school to become professional
actors one day … do not have fun! You are here to learn the skill, the craft, the
art of acting. This is serious work! You don’t expect to have fun studying for
and writing your law or accounting exams – please don’t expect it if you’re busy
preparing your best possible performance in a show to which audience members
are buying tickets! </span></span></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: small; line-height: 115%; mso-bidi-font-size: 10.0pt;">I believe that you will experience the
exhilaration of knowing that you’re busy doing good work when on stage<span style="mso-spacerun: yes;"> </span>(that’s what I mean when I say: “Have fun!”);
the pride of recognizing that you’ve successfully used all the skills you’ve
learned so far; the joy of realizing that you’ve overcome major obstacles and
done the best you possibly can. I hope that you will experience the true <b style="mso-bidi-font-weight: normal;">fun</b>, finally, of deserving to feel good
about your achievements and that you will have cause to be truly proud and excited by the time you've completed your final performance. </span></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-left: -36.0pt; text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">I hope that these
suggestions will solve the problems with regard to how to work in rehearsal that student actors so often face. It will only
do so, however,<span style="background-color: lime;"> if you do the work</span>. If you don’t, there’s nothing anyone can do
to make you look good under those lights!</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #92d050; font-family: "Tahoma","sans-serif"; font-size: 16.0pt;">Stephanie van Niekerk</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #92d050; font-family: "Tahoma","sans-serif"; font-size: 16.0pt;">Director </span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #92d050; font-family: "Tahoma","sans-serif"; font-size: 16.0pt;">Method Actors’ Training Centre</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #92d050; font-family: "Tahoma","sans-serif"; font-size: 16.0pt;">Pretoria, South Africa</span></b></div>
<br />Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-748509251661052067.post-52418160177984149472013-02-05T05:23:00.002-08:002013-02-08T07:33:06.491-08:00A 4TH YEAR STUDENT SHARES HIS PERSPECTIVE<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-ZA</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:DontVertAlignCellWithSp/>
<w:DontBreakConstrainedForcedTables/>
<w:DontVertAlignInTxbx/>
<w:Word11KerningPairs/>
<w:CachedColBalance/>
</w:Compatibility>
<w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]--><!--[if gte mso 9]><xml>
<o:shapedefaults v:ext="edit" spidmax="1026"/>
</xml><![endif]--><!--[if gte mso 9]><xml>
<o:shapelayout v:ext="edit">
<o:idmap v:ext="edit" data="1"/>
</o:shapelayout></xml><![endif]-->
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="background-color: cyan;"><b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 18.0pt; line-height: 115%;"></span></u></b></span><b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 18.0pt; line-height: 115%;"><span style="text-decoration: none;">ON APPLYING METHOD TECHNIQUES DURING PERFORMANCE</span></span></u></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 18.0pt; line-height: 115%;"><span style="text-decoration: none;"><br /></span></span></u></b>
</div>
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><u><span style="background: aqua; font-size: 14.0pt; line-height: 115%; mso-highlight: aqua;">BY
PHILLIP VAN STADEN, ALUMNI – FOUR YEARS</span></u></b><b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 14.0pt; line-height: 115%;"></span></u></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">From my
first to my fourth year of training, my views on most things have changed a
lot, not only on using the Method, but on “acting” in general. <span style="mso-spacerun: yes;"> </span>I will discuss five specific aspects that have
changed for me over the past four years.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="background: aqua; font-size: 12.0pt; line-height: 115%; mso-highlight: aqua;">METHOD
AS A TOOL</span></u></b><b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 12.0pt; line-height: 115%;"></span></u></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">When I
started my studies at the Method Actors’ Training Centre, I did not know what
acting was and I knew even less about what the Method is. At that point Method
and acting was the same thing to me -which, in a sense, is true. I realize now
that the Method is actually a small but important part of acting, that it is
only <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">one of many aspects</span></b> that go into creating a
performance – a tool to be used and manipulated.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Before
applying work, or deciding on specific work, an actor must explore and find an
interesting way of performing the scene (seriously taking the author’s intent
into consideration, of course). By looking at <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">the opposite of the
obvious</span></b>, comedic aspects, tempo-rhythm and the image you wish to
create on stage, you discover what you need from the Method. In other words, your
creative choices help you to choose your Method work, not the other way around.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Simply
applying Method choices that “will do – as long as the work is real” and being
content that you are “doing the work”, is not enough. We have to be <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">imaginative</span></b> and <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">original</span> </b>as well. We must
take chances and find the best way of performing the scene or the play.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Although the
Method provides many ways for us to break through our blocks, it is not the be
all and end all. We have to apply our <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">willpower</span></b> and <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">effort</span></b> in order to break through our limitations. Only when we
accept responsibility for our work and personal development can the Method be
beneficial to us as actors.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Intent is an
extremely important part of the actor’s performance. What the character wants
or must do and that which gets in the way of that intent, is very important. Method
work must be chosen to back up the intent. The <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">intent</span> </b>is
decided on first, based on the information provided in text, and then the Method
work is chosen to create and/or intensify the intent.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">There are <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">technical issues</span></b> that always have to be kept in mind when
acting. Sightlines, audibility, continuity, structure and logic must all be
approached correctly, whether dealing with stage or camera. Being <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">trained</span></b> to perform on the stage and in front of the camera is
very important because the Method in itself won’t solve the technical aspects
faced by the actor.<span style="mso-spacerun: yes;"> </span>In the hands of an
actor who is not doing his or her job correctly, the Method will, in fact, get
in the way of solving technical issues.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">To sum up
what I’ve said above: The Method is a tool or set of techniques to help the
actor be real and honest during performance. In order for the Method to be
effective, however, we must have <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">willpower</span></b>, use our <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">imagination</span></b>, have <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">technical training</span></b> in the
medium we’re acting in, think <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">logically</span> </b>and <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">theatrically</span></b>, choose the correct <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">intent</span></b> and
know how to <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">apply</span></b> our chosen Method work appropriately.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">This view
has evolved for me over time, starting from the naïve idea that the Method is
the only important thing to worry about while performing and that it will
automatically take care of all challenges and problems. I think this view,
which is shared by many new (and not so new!) actors, comes from the intense
training undergone in order to learn this unfamiliar and difficult to
understand technique when we don’t know anything about acting to begin with. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">As time went
by and I learnt to apply the techniques, gaining experience as an actor, I
started truly believing in the Method as <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">a tool</span></b> as opposed to a
colossal system that has all the answers but in which I have no choice or
control.</span></div>
<div class="MsoNormal">
<br /></div>
<b style="mso-bidi-font-weight: normal;"><u><span style="background: aqua; font-size: 14.0pt; line-height: 115%; mso-highlight: aqua;">EMOTIONAL
RESPONSE</span></u></b>
<br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 12.0pt; line-height: 115%;">Mary:<span style="mso-spacerun: yes;">
</span>(<i style="mso-bidi-font-style: normal;">Washing the dishes</i>)
Good morning, John! (<i style="mso-bidi-font-style: normal;">Doorbell rings and
Mary goes</i></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-indent: 36.0pt;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>into shock instantly</span></i><span style="font-size: 12.0pt; line-height: 115%;">) Oh, my! The doorbell is ringing!</span><i style="mso-bidi-font-style: normal;"><span style="font-size: 8.0pt; line-height: 115%;"> </span></i>
</div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;">John:<span style="mso-tab-count: 1;"> </span>Don’t
worry, all is well. It’s just someone at the door.</span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;">Mary:<span style="mso-tab-count: 1;"> </span>(<i style="mso-bidi-font-style: normal;">Calms down instantly</i>) Oh, good. I’ll get
it! (<i style="mso-bidi-font-style: normal;">Opens the door and Dan enters)</i></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;">Dan:<span style="mso-tab-count: 1;"> </span>(<i style="mso-bidi-font-style: normal;">With a grim expression on his face</i>) I’m
afraid I have some bad news.</span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;">Mary:<span style="mso-tab-count: 1;"> </span>(<i style="mso-bidi-font-style: normal;">Inconsolable crying</i>) Oh, NO!
Why? Why? Why? Why?</span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: -36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;">One of the things I expected when I
first started my course, was that I would develop a machine-like ability</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>to <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">immediately express any emotion</span></b>
instantly. What I did not take into account, were the stages an</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;">emotion goes through. Rarely do we jump into
an extreme emotion instantly. </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: -4.8pt; margin-right: 0cm; margin-top: 0cm;">
<span style="font-size: 12.0pt; line-height: 115%;">We first go through a process of realization, shock, denial,
rationalization and confusion. As we go through these thoughts and processes the
underlying emotion builds, sometimes quickly and sometimes slowly.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;">During performance, it is unrealistic
to skip the different processes and jump straight into the extreme of </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;">emotion, because then we miss out on <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">the subtleties and the reality</span></b> of how emotion works. The
Method</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>gives us the opportunity to express these
subtleties without planning or thinking about them, if the work is</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>chosen correctly for the scene. If we need it,
we can always pick an emotional memory that peaks very</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>quickly for a sudden outburst but we often
don’t need this. We have to stay with what is true and real in</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>human behavior in general and the character’s
behaviour in particular, remembering that transitions</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>occur.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;">I once played a scene where a son is
being told that his adopted mother, who had brought him up, had died</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>of a stroke. Instead of bursting into tears
immediately, I chose to go through a short sequence of thoughts</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>and feelings as the character. Though the
amount of time available was extremely limited, I worked on a</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>transition, going from one feeling to another.
I used an emotional memory that gave me confusion, then</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>momentary denial, then saddened shock and
finally a defiant “anger”. The natural flow of the memory</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>mostly ran in that order, with little
variation. I was able to focus on different aspects of the memory to</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>“control” or shape the response. I could, for
instance, focus on hearing someone say specific words to</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>prolong the sadness or focus on hearing
something else to trigger the anger.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;">I didn’t know if this would work, at
first, but after watching the scene on film I found that the transitions</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>occurred very effectively even though the
choice to go to anger may not have been the most appropriate</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>for the scene. In my first year of studying I
would probably have worked for only sadness, expecting to get</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>sad from the second I heard the news and
keeping that going until the end of the scene. <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">The choice to</span></b>
<b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">flow</span></b></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<b style="mso-bidi-font-weight: normal;"><span style="background: aqua; font-size: 12.0pt; line-height: 115%; mso-highlight: aqua;"><span style="mso-spacerun: yes;"></span>with the stages of the emotional memory gave
more variation and light and shade to the role. </span></b><span style="font-size: 12.0pt; line-height: 115%;"></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;">In this way a huge weight was lifted
off my shoulders. I did not have to worry about all the subtle responses</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>that happen in the face, the body and the
voice of a good actor while doing an emotional scene. All I had to</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>do was <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">recreate the sensations</span></b>
inherent in a well-chosen emotional memory, which would allow me to</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>respond in <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">interesting</span> </b>and
<b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">real</span> </b>ways as the character.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;">I also realized that a relatively
neutral emotional scene can become very interesting and effective if your</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>work choices are elegant. We can always
incorporate the subtleties of real human behaviour by using well</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>chosen Method work. We don’t have to wait for
those big outbursts or heavy emotional scenes that come</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>by only rarely anyway.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt 31.2pt; text-align: center; text-indent: -36pt;">
<b style="mso-bidi-font-weight: normal;"><u><span style="background: aqua; font-size: 14.0pt; line-height: 115%; mso-highlight: aqua;">I NEED TO EXPERIENCE EVERYTHING
100% OR MY PERFORMANCE WILL BE RUINED!</span></u></b><b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 12.0pt; line-height: 115%;"></span></u></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;">Part of the confusion and frustration
I experienced when initially learning to do relaxation, tried to</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>experience sense memory and attempted to apply
the work in practise, was the realisation that I was</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>experiencing very little of what I was working
for. It was discouraging when faced by the belief that I was</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>expected to experience <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">every tiny little
detail</span></b> of a place or substitution or personal object, etc. I felt,
rather</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>than knew, that I needed to experience sounds
and smells and tastes and overall sensations <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">perfectly</span></b>
in</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>order to experience response or an emotion and
for me to be” safe” during performance.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 31.2pt; margin-right: 0cm; margin-top: 0cm; text-indent: -36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;"> </span><span style="font-size: 12.0pt; line-height: 115%;"> </span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt 31.2pt; text-align: left; text-indent: -36pt;">
<span style="font-size: 12.0pt; line-height: 115%;">I now have a much freer way of
working. I realize that a small amount of sensory recall is enough for most</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt 31.2pt; text-align: left; text-indent: -36pt;">
<span style="font-size: 12.0pt; line-height: 115%;">things I need to do during performance. I don’t need to see the place all
around me in full definition color </span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt 31.2pt; text-align: left; text-indent: -36pt;">
<span style="font-size: 12.0pt; line-height: 115%;">and scale as it is in real life. I just
need <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">to be aware</span></b> of the window frame along the fourth
wall and the</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt 31.2pt; text-align: left; text-indent: -36pt;">
<span style="font-size: 12.0pt; line-height: 115%;">painting on the left wall to create my place and be “safe”. A bit
more detail will be nice if I can manage it, but </span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt 31.2pt; text-align: left; text-indent: -36pt;">
<span style="font-size: 12.0pt; line-height: 115%;">it isn’t necessary. Seeing a
bit of my substitution is enough to create relationship most of the time. If
there is</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt 31.2pt; text-align: left; text-indent: -36pt;">
<span style="font-size: 12.0pt; line-height: 115%;">not much time to bring in new work, then we don’t have much choice! We
have to respond to the minimum</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt 31.2pt; text-align: left; text-indent: -36pt;">
<span style="font-size: 12.0pt; line-height: 115%;">of sensory stimulation and response and <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">buy into</span></b> the truth of it.</span>
</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 12.0pt; line-height: 115%;"> </span><span style="font-size: 12.0pt; line-height: 115%;"> </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 12.0pt; line-height: 115%;">During a scene where I had to create
an anger outburst, all I worked for were the eyes of the person substitution
I was angry with and hearing the sound of their voice. That was enough for a
quick outburst. As the scene proceeded I could start becoming aware of the
place and sounds and other aspects that formed part of the emotional memory.</span>
</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 12.0pt; line-height: 115%;">In terms of experience, the first two
years of studying Method are full of confusion. <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">What does real feel like?
When do I really have sense memory and when is it imagined?</span></b> At first
a great deal of detail can be delivered by your imagination and we can readily
fool ourselves into thinking we have experienced sensory recall. Later on
little bits of real sensation sneak in and then vanish again for weeks at a
time. I now have a much firmed idea of when <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">real sensation</span></b>
happens and when it is <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">constructed</span></b> or <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">imagined</span></b>. I have stopped putting pressure on myself to
experience sensations exactly as they are in real life. When working I don’t
always have real experience! I get it when I ask for it but I’m not always
asking for it … I wait for those moments when I need to respond to what is
happening in the scene as the character.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 12.0pt; line-height: 115%;">This is what keeps me safe: The
knowledge that when I need it, I can call for sense memory and get a real
response. I realize that, even if I don’t get the exact emotion or response
that I want for the best possible performance, <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">I will always
experience enough sensation on which to base real behaviour</span></b>. I know
that when disaster strikes and I don’t fully express or am too tense to truly
experience the chosen work, I will always have my focus, concentration and
Method choices to fall back on and that I really don’t need all that much to
“save” me anyway.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 12.0pt; line-height: 115%;">A bit of place will focus my
attention, a snippet of a song will change my mood, a little bit of a
substitution will give me relationship and help me to respond to another
character in a real way, a whiff of a smell can give me a momentary response and
focusing on experiencing a personal object will give me an even stronger
response. Experiencing <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">everything</span></b> would be
wonderful … but, quite frankly, I don’t need it!</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><u><span style="background: aqua; font-size: 12.0pt; line-height: 115%; mso-highlight: aqua;">CONCENTRATION AND FOCUS</span></u></b><b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 12.0pt; line-height: 115%;"></span></u></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 12.0pt; line-height: 115%;">I once read an interesting interview on
the internet with Christopher Walken, who studied Method with Lee Strasberg for
four years. He said something that I identified with, namely that, when he
started studying, he experienced concentration as staring with all his might at
a fixed point <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">intently</span></b>.<span style="mso-spacerun: yes;">
</span>He later realized that concentration meant loosely <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">being aware</span> </b>of
many things at the same time in a relaxed way and remaining aware of them for
as long as you need to.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 12.0pt; line-height: 115%;">I believe this to be true for the
Method. Forcefully focusing on sense memory, experience and expression will not
give you any response, especially when there are several other things you have
to be aware of at the same time. <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">To me acting became a process of
being aware</span></b>. Using Method work means being aware of the place and
substitution while asking for sensation. Using Method work means being aware of
an overall sensation and a personal object on the body while asking for
sensation. Using the Method means being aware of the lines and the meaning and
intent behind them and merely saying them with that intent rather than forcing
the lines into a preconceived pattern, of being aware of technical aspects, the
audience’s response and what you need to do next – without anticipating. </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 12.0pt; line-height: 115%;">It means being aware of all the above
while not allowing in any thoughts that won’t help you in your performance,
like wondering about who might be in the audience, what you look like, what is
currently happening in your personal life or how you feel about the other
actors. More importantly, it is to <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">not allow yourself to think about
what the emotion should look like</span></b>. It is to not try to <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">control the emotion directly</span></b> but to <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">respond to the sense
memory</span></b>, which has been adjusted during rehearsal to reach the
required responses with the correct depth and intensity.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 12.0pt; line-height: 115%;">During my first year all this was
overwhelming and difficult, often adding to my stress. It added another worry
to acting, making it more difficult! Now it has become a means of negating the
unnecessary worries and has become, for the most part, easy. I still find every
role a challenge but the battle is not one of surviving on stage but <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">finding the best approach to the scene</span></b> instead. </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 12.0pt; line-height: 115%;">During my first year I over-thought
everything. I focussed too intently on small aspects rather than gently and holistically
trying to experience an object or sensation. It took a while but I did get
better at relaxing my focus as time went by. In my fourth year I realized that <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">focus is like opening your awareness and waiting</span></b>. <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">It means giving permission to your senses to experience and being ready to
respond</span></b>. It means keeping your composure internally even when
tensions and emotions are high.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 12.0pt; line-height: 115%;">The issue of focus and concentration
is important to me both in terms of being directed and in terms of applying the
Method and coping as an actor on stage. There is no effective way in which to
rush the correct interpretation and application of focus and concentration,
however. It is something that develops over time without you even realizing it.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><u><span style="background: aqua; font-size: 12.0pt; line-height: 115%; mso-highlight: aqua;">METHOD WORK MUST BE
NATURAL, SUBTLE, REALISTIC AND COMFORTABLE</span></u></b><b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 12.0pt; line-height: 115%;"></span></u></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 12.0pt; line-height: 115%;"><span style="text-decoration: none;"><br /></span></span></u></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 12.0pt; line-height: 115%;">This belief is common and is
constantly being warned against by the acting coach, but it is still difficult
(in the student’s head) to confidently do something “unrealistic” (read “big”)
on stage when you’re working with the Method. To be specific sometimes <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">feels</span></b> unnatural, posed or unmotivated but will only seem this
way if <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">executed</span> </b>in a way that is posed or unmotivated.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 12.0pt; line-height: 115%;">During the process of directing
first-year scenes I realized that most students are prone to hold the above
belief. They would rather make small movements and gestures, speak softly and
without energy, do activities in a small and limiting way and avoid any kind of
interesting or risky approach to a scene than to “indicate”. This is understandable
at first-year level since there are so many things to worry about at that
stage.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 12.0pt; line-height: 115%;">Sometimes, however, these habits come
from an early and <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">inaccurate assumption</span></b>
about the Method: The assumption is that the actor / character is supposed to
fade away in a scene and not be noticed and that the lines should not be filled
with meaning but should rather have a “natural”, shallow feel. That we should
move in a small way and that we should not behave too energetically or
purposefully. This misconception runs more strongly among those who don’t work
the Method way but can initially be found to be a belief amongst first-year
Method students also. It is rooted in inexperience and ignorance and not
knowing where the limits are in terms of acting. </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 12.0pt; line-height: 115%;">This may be an exaggerated
description but I see it often. Some students develop a habit of going
physically and expressively “dead” while performing rather than being judged
for “over-acting”. Early in their training students find it difficult to move
away from this point of view, believing that actions, behaviour, verbal or
emotional expression that is “large” necessarily means that they are not being “real”.<span style="mso-spacerun: yes;"> </span>I personally had a hard time moving away from
this belief and only made a conscious decision in my final year that I would <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">definitely say every line with all its meaning and intensity being
expressed</span></b> during performance. Previously I would not allow myself to
actually <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">speak</span></b> in a scene but would rather swallow
expression even more than I do in real life! <span style="mso-spacerun: yes;"> </span>Earlier on I chose to be vague and “natural”
when performing but my recent attempts at going bigger and being fully expressive
(verbally and emotionally) have clearly been much more effective.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 12.0pt; line-height: 115%;">After acting in a number of Absurdist
scenes and plays, I’ve realized that an actor is in fact allowed to behave “unrealistically”
as a character … <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">as long as the work is real</span></b>. A character
may laugh hysterically after hearing shocking news … as long as he is <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">really laughing</span></b>. A character can certainly strike a pose,
pretend to be a bear or sing an opera in a public place … <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">as long as the actions
come from a real place, based in honestly experienced work</span></b>.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 12.0pt; line-height: 115%;">The Method does not dictate how you
may or may not play a scene. The Method is a tool to make real that which you
and your director have decided to do, based on the golden thread provided by
the dramatist in the script. The actor’s choices need to be creative and
logical, keeping in mind the author’s intent. If limitations are imposed, <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">we</span></b> (and <b style="mso-bidi-font-weight: normal;"><span style="background: aqua; mso-highlight: aqua;">not</span></b> the Method) are
imposing them! Only with experience do we come to realize that we don’t need to
limit ourselves and that we can allow the Method to help us in going bigger
than any non-Method actor would think safe in terms of “realism”. <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
Anonymousnoreply@blogger.com2tag:blogger.com,1999:blog-748509251661052067.post-86277226806856479162013-01-27T07:35:00.000-08:002013-01-27T07:35:09.642-08:00SOLUTIONS TO PRACTICAL PROBLEMS IN APPLYING METHOD PRINCIPLES #3<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-ZA</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:DontVertAlignCellWithSp/>
<w:DontBreakConstrainedForcedTables/>
<w:DontVertAlignInTxbx/>
<w:Word11KerningPairs/>
<w:CachedColBalance/>
</w:Compatibility>
<w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="0" Name="footer"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="0" Name="Body Text"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman","serif";}
</style>
<![endif]--><!--[if gte mso 9]><xml>
<o:shapedefaults v:ext="edit" spidmax="1026"/>
</xml><![endif]--><!--[if gte mso 9]><xml>
<o:shapelayout v:ext="edit">
<o:idmap v:ext="edit" data="1"/>
</o:shapelayout></xml><![endif]--><br />
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">During my first few
years of teaching as director of the Method Actors’ Training Centre In
Pretoria, South Africa, I stuck to how the classes were handled at the Lee
Strasberg Theatre Institute in New York during my time there (1981 – 1984). </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">What I did do
differently, however, was to do<b> year-end shows</b> with my students. We either did
a few existing short plays chosen around a theme or created original workshop
productions based on improvisation as an ensemble, starting rehearsals in
August and usually performing at the end of November or beginning of December.
I believed very strongly that it would be pointless for students to study
acting and learn how to apply Method acting techniques to scene work if the
actors did not have the opportunity to <b>perform in front of an audience</b> at some
point also. Actors need to learn how to solve both <b>acting and technical
problem</b>s under pressure, under the lights and while being watched by both
strangers and loved ones. The stress and pressure you are under when performing
for an audience is completely different to working in front of peers you know
well within a class set-up and students must gain that experience and
professionalism if they wish to enter into the industry as paid actors. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">It soon became
apparent, however, that my students were absolutely useless during <b>blocking rehearsals</b>!
They didn’t have a clue how to behave on a stage; stumbling about, masking and
blocking themselves and their fellow actors, not knowing what to do with their
hands and feet, moving around like wooden dolls, placing set furnishings in ways that did not work at all and
often behaving illogically and with a lack of awareness with regard to how to
tell the story visually and theatrically. Not only that – they presented with
major problems when it came to <b>voice reproduction</b>, of which the worst was that
they could not be heard and that diction and articulation, in general, was
extremely poor. I had been aware of these issues while watching scene work in
class, of course, but since these weaknesses were paid no mind during my
training I didn’t concern myself with it either. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">Once you’re
designing a set, telling a story, blocking a scene (requiring actors to do
daily activities with an awareness of stage craft) and getting actors to move
effectively for public performance to a paying audience, however, attention
must be paid to the age-old theatrical conventions, whether we like it or not!
While I do not subscribe to slavishly following each and every “rule” to the
exclusion of real action and honest behavior, I do believe we should strive to
honor the most basic aspects by making them our own and eventually executing
them so naturally that they are not noticed at all. We should at least know the
“rules” in order to break them effectively and towards a specific purpose
should we feel so inclined. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">The fact that actors
must possess a strong, resonant voice with good tone which can be heard at the
back of the theatre, that diction should be clear and that the characters’
thoughts and feelings should be meaningfully expressed is non-negotiable, as
far as I’m concerned. The mumbling, inexpressive voice of the cliché Method
actor who can barely be heard in the first row (even in the movie theatre!) is
something many have complained about throughout the years and I was not going
to allow this to be the case with my students.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">So … I started
adding <b>voice classes and workshops</b> in “non-method” aspects, not only because I
needed my students to behave more professionally during rehearsals for the
year-end shows but also because I required them to do more theatrically
effective scene work in class – even if the main focus is teaching them how to
apply relaxation, sense memory, emotional memory, animal work, etc. in
practice. Surely this does not exclude working correctly with regard to wider
performance and theatrical aspects and actually being heard by the audience
(whether in theatre or film) also?</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">It helps to have a
common language with directors and actors in the wider industry, for instance,
since this makes communication and working together easier and would make the
novice feel much more comfortable in professional company. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">Actors and directors
and stage managers need to know where “Prompt side” is and what “OP” means,</span><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;"> that the stage is
divided into 15 units, what these positions are called, where Centre or Down
Right Centre or Up Left Centre, etc. would be, and where the most effective
playing areas are (in case you wish to use them), how to write stage directions
or notations in a text. It would make life easier to know that <b style="mso-bidi-font-weight: normal;">XDRC, pause, XUSC, out </b>means: crosses
down right centre, pauses, crosses upstage centre and exits, if the stage
manager is absent and you’ve been asked to help out by giving fellow actors
notes from the script. </span>
</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">Here follow a few
simple suggestions based on <span style="color: red;">Jean Lee Latham’s <b><i style="mso-bidi-font-style: normal;">Do’s and Don’ts of Drama</i></b> </span>that my students and I have found helpful
over the years, giving their performances <b>a more “polished” and professional
feel</b> without taking away from the realness and honesty of their responses and
emotions. The individual will choose whether to disregard or use them:</span></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="text-decoration: none;"><br /></span></span></u></b></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<span style="color: red;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">STAGE
SETTING</span></u></b></span></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<br /></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Don’t place furniture so it
hides an important entrance/exit.</span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Keep the stage balanced by
placing furniture left and right of centre, not on one side only.</span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Give the stage setting depth by
placing furniture upstage and downstage.</span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Guard against the monotony of
straight lines when placing furniture.</span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">See to it that one piece of
large furniture does not block the view from another piece, such as a sofa,
where important action is to occur. The audience must see the action.</span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Place furniture around which
important action is to occur, within effective playing areas. </span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Place a chair in which an
important scene is to occur where all audience members can see the occupant.</span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Do not place furniture in such
a way that actors upstage themselves when doing activities.</span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">9.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Don’t place furniture in the
main playing areas so far upstage or downstage that the actors are forced to
play behind it (DS) or - if placed US - the stage looks top-heavy and the
actors find it hard to dominate the audience.</span></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<br /></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<span style="color: red;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">EFFECTIVE
STAGING</span></u></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">: <u>ENTRANCES & EXITS</u></span></b></span></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<br /></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l4 level1 lfo2; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">First rule in staging an
entrance: Clear the doorway of other actors for entrances and exits so the
audience may have an unobstructed view of the character entering. </span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l4 level1 lfo2; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Give him/her room to walk into
the scene so s/he is not stuck at the door or against a wall.</span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l4 level1 lfo2; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Minor characters should not
obstruct the view with regard to major characters and/or important action.</span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l4 level1 lfo2; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">The more important character
should have a position US of the other, where s/he can dominate the scene/face
the audience. </span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l4 level1 lfo2; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">When a major character enters
to join a group, use <b style="mso-bidi-font-weight: normal;">motivated</b>
movement to get non-essential characters out of the way so s/he can walk into
the scene and address the other major character(s) with ease.</span></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="text-decoration: none;"><br /></span></span></u></b></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<span style="color: red;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">BLOCKING</span></u></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">: <u>KEEPING THE STAGE BALANCED</u></span></b></span></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<br /></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l1 level1 lfo3; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">The <b style="mso-bidi-font-weight: normal;">importance</b> of a character has as much weight as the <b style="mso-bidi-font-weight: normal;">number</b> of characters. In other words,
one major character is as important as several minor characters and may
therefore be placed separately without the stage becoming unbalanced.</span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l1 level1 lfo3; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Use the whole stage and
different levels – standing, sitting etc. - when blocking.</span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l1 level1 lfo3; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB">Variety</span></b><span lang="EN-GB"> in blocking is very important.
Vary moving your character(s) or placing the action DSC to RC to DSL etc., when
blocking scenes played one after the other.</span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l1 level1 lfo3; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Do not simply move characters
up and down and left and right in straight lines – move them US and DS, SR and
SL in straight as well as diagonal lines. Mix it up.</span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l1 level1 lfo3; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Keep the following in mind:</span></div>
<div class="MsoFooter" style="margin-left: 40.5pt; mso-list: l3 level1 lfo4; tab-stops: list 40.5pt left 252.0pt 432.0pt; text-indent: -22.5pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">(a)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">keep the stage balanced – do
not place all or most of your characters or action in one area only, leaving
the rest of the stage empty for long periods of time</span></div>
<div class="MsoFooter" style="margin-left: 40.5pt; mso-list: l3 level1 lfo4; tab-stops: list 40.5pt left 252.0pt 432.0pt; text-indent: -22.5pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">(b)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">give the main character place
of prominence (if relevant)</span></div>
<div class="MsoFooter" style="margin-left: 40.5pt; mso-list: l3 level1 lfo4; tab-stops: list 40.5pt left 252.0pt 432.0pt; text-indent: -22.5pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">(c)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">don’t allow one character to
mask or block another</span></div>
<div class="MsoFooter" style="margin-left: 40.5pt; mso-list: l3 level1 lfo4; tab-stops: list 40.5pt left 252.0pt 432.0pt; text-indent: -22.5pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">(d)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">don’t allow your characters to
upstage themselves when involved in an important scene or action</span></div>
<div class="MsoFooter" style="margin-left: 40.5pt; mso-list: l3 level1 lfo4; tab-stops: list 40.5pt left 252.0pt 432.0pt; text-indent: -22.5pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">(e)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">keep the main characters in the
effective playing areas or where the action can be clearly seen</span></div>
<div class="MsoFooter" style="margin-left: 40.5pt; mso-list: l3 level1 lfo4; tab-stops: list 40.5pt left 252.0pt 432.0pt; text-indent: -22.5pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">(f)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">always use a direct route from
one position to another on the stage unless there is a definite reason for
doing otherwise (the character is dawdling, unsure or playing for time)</span></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<br /></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<span style="color: red;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-GB" style="font-size: 12.0pt;">STAGE TECHNIQUE</span></u></b></span><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt;"></span></b></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<br /></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l2 level1 lfo5; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">When holding a
gun/glass/newspaper etc., use your US hand. <b style="mso-bidi-font-weight: normal;">Tip:</b> In rehearsal, move your script to your DS hand, which will
force you to use the US hand for activities etc.</span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l2 level1 lfo5; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">When you start walking, make
the first step with your US foot. You do not want to block your body or cross
yourself with your first step – keep an open position. </span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l2 level1 lfo5; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">A seated character should not cross
the DS leg over the US leg since this blocks the body. Keep the body open
towards the audience by crossing the legs the other way around.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l2 level1 lfo5; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Always position a character
watching action off-stage (looking out of a window/door etc.) in profile rather
than with the back to the audience. Profile gives the opportunity to view
facial expressions and hear dialogue.</span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l2 level1 lfo5; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Dialogue can frequently not be
heard when an actor faces US and away from the audience, unless s/he has a very
strong voice. Weaker voices should always face toward the audience in order to
be heard.</span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l2 level1 lfo5; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Playing with your back to the
audience can be very effective, but this choice must be made with caution and
for very specific reasons.</span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l2 level1 lfo5; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Two or more actors should not
walk next to or directly behind each other on stage unless specifically
required for effect. Rather let one walk slightly behind and to the side of the
other when exiting together or changing on-stage positions in order that the
audience may still see both characters clearly.</span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; mso-list: l2 level1 lfo5; tab-stops: list 18.0pt left 252.0pt 432.0pt; text-indent: -18.0pt;">
<span lang="EN-GB" style="mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-GB">Try not to have two characters
walking to different positions on-stage together or crossing [X] each other.
Let one character move and once s/he gets to the required position let the
other character move.</span></div>
<div class="MsoFooter" style="margin-left: 18.0pt; tab-stops: 252.0pt 432.0pt;">
<br /></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<span style="color: red;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">TELLING
YOUR STORY VISUALLY</span></u></b></span><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"></span></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<br /></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<span lang="EN-GB" style="mso-bidi-font-size: 11.0pt;">Always look for ways to bring meaning and/or
subtext across visually, through placement on-stage and/or action and
activities and not only through what characters are saying. Do this with
subtlety and insight with regard to a character’s intent, motivation, what is
really meant underneath what is being verbally stated, etc. Don’t hit the
audience over the head with a sledgehammer though! Some examples: </span></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-GB">Friendly Scenes</span></u><span lang="EN-GB">:</span></b><span lang="EN-GB"> Place the characters closer to each other for greater intimacy.
Distance may be better suited to broad comedy or the highly dramatic or
hostility, depending on how it is handled.</span></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-GB">Dramatic Clash</span></u><span lang="EN-GB">:</span></b><span lang="EN-GB"> Don’t place minor characters in-between the two majors during a
conflict scene – get them out of the way in order that the characters in
conflict may communicate and play off each other without difficulty.</span></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-GB">Tension between characters</span></u><span lang="EN-GB">: </span></b><span lang="EN-GB">Consider putting distance between them
or having them turn their bodies away from each other or try out “closed” body
language (arms crossing over the chest), etc. Daily activities can also be very
expressive so pick these carefully and look at how different meanings can be
expressed through how the activities are executed.</span></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<br /></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<span style="color: red;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-GB" style="font-size: 12.0pt;">VOICE</span></u></b></span></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-GB" style="mso-bidi-font-size: 11.0pt;"><span style="text-decoration: none;"><br /></span></span></u></b></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<span lang="EN-GB">Voice
work forms part of my Method Course. The students have to attend weekly
one-hour Voice classes in order to develop this all-important part of the
actor’s instrument. Since honest expressiveness is essential I work according
to <span style="color: red;">Kristin Linklater’s</span> techniques with regard to <b><span style="color: red;"><i style="mso-bidi-font-style: normal;">Freeing the Natural Voice</i></span></b>.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<br /></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<span lang="EN-GB">I train
my actors to attain physical relaxation; release of the breathing centre and
speech channel, correct breath and voice placement; strong resonance; rich,
full voice tone; effective voice projection and volume as well as clear
articulation / diction and truthful verbal expression of thought and feeling. </span></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<br /></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<span lang="EN-GB">Developing
effective voices remains a frustrating struggle since students don’t do the
required work at home in order to fully develop their voices as instruments.
They stubbornly believe they can get away with doing the minimum, as most
students do, and we pay the price when performing the year-end show every time.
Lack of volume, thin voice tone, weak resonance and woolly diction have haunted
me for the past twenty-two years. Even so, I keep hoping that my actors are
doing better in the Voice department than they would have if I had not spent
the time trying to develop effective verbal instruments at all. I like to
believe they are! </span></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<br /></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<b><span style="color: red;"><span lang="EN-GB">Written by: Stephanie van Niekerk</span></span></b></div>
<div class="MsoFooter" style="tab-stops: 252.0pt 432.0pt;">
<b><span lang="EN-GB"><span style="color: red;">Director, Method Actors' Training Centre </span></span></b></div>
<b>
</b><br />Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-748509251661052067.post-65361039262301454512013-01-16T05:04:00.007-08:002013-01-24T00:04:22.703-08:00SOLUTIONS TO PRACTICAL PROBLEMS IN APPLYING METHOD PRINCIPLES # 2<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP4NLeAiy5gFVFwEtrnrH5O3g-qMENo4i8fCzy3X7Mn2d_6UincDFNqN8LZZMQKQL42mO9_CgJPQjroZmYnSo1rAD27LIU9wxOMF3cWikx638OLYGE1qezHsf8rfxkNxePT5qkIm40Ljw/s1600/ebok-cover-p2-new.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP4NLeAiy5gFVFwEtrnrH5O3g-qMENo4i8fCzy3X7Mn2d_6UincDFNqN8LZZMQKQL42mO9_CgJPQjroZmYnSo1rAD27LIU9wxOMF3cWikx638OLYGE1qezHsf8rfxkNxePT5qkIm40Ljw/s400/ebok-cover-p2-new.png" width="400" /></a></div>
While studying at the <a href="http://methodacblog.blogspot.com/2012/10/the-madness-in-me-it-must-be-method.html">Lee Strasberg Theatre Institute in New York</a>, I was given a piece of paper which contained the basics with regard to the list below. I read through it at home, took note and put it in my file. Since these questions and the importance of answering them were seldom referred to in class when scenes were being criticized and discussed, I quickly forgot about the list and continued doing scene analysis in my own haphazard way – as did most of my peers. I only discovered it again years later when I started <a href="http://www.methodacting.co.za/">teaching others</a> and searched for ways to solve the problems my students and I were having. If only I had stuck it to my mirror and used it all those years ago, many uncertainties and difficulties with regard to choosing and applying sense memory work in practice would have been solved then and there!<br />
<br />
I have since added information to the list and organized it differently in terms of question placement.<br />
<br />
So, here follows the all important analytical tool without which no actor should attempt to act a scene:<br />
<br />
QUESTIONS A – J<br />
Practical Scene Analysis<br />
<br />
ALWAYS ANSWER THE FOLLOWING QUESTIONS WHEN REHEARSING A SCENE<br />
<br />
<div>
a) What would I be doing if this scene never took place? (Answered in order to prevent anticipation and pick logical and correct daily activities for the character.) Do not change the location in which the scene takes place.<br />
<br />
b) What makes this time different from any other time? (Why is this scene special and included in the text?)<br />
<br />
c) When is this happening – the period in history, the season, the time of year/day, in the course of the relationship and the character’s development, the plot, etc.<br />
<br />
d) Where did I just come from? Where do I want to go? Where am I now? (Immediate past, present, future.) We need to see you coming from somewhere, being in the moment during the scene, yet with the intent to move forward or go elsewhere in the near future.<br />
<br />
e) Who am I? Including the character’s life before the play starts – logically deduced from the facts given in the script.<br />
<br />
f) What one thing must be attended to in order that the scene may be created (Is this an information scene? Is it about relationship, situation, conflict, characterization, etc. What is the core of the scene?) Answering this question is central to picking the most effective Method work for the scene.<br />
<br />
g) What do I want in this scene? (State the character’s Intent in writing: I must or I want to, followed by a verb indicating a specific action to be executed and followed by because – indicating the character’s motivation and a justification for chosen actions. Example: I must walk straight and steady because I feel a little drunk and I don’t want my parents to notice.) The answer to this question is also central to picking the most effective Method work for the scene. PLAY THE INTENT OF THE CHARACTER!!<br />
<br />
h) What is in my way? (The obstacle in the way of what the character wants.) What do I do to get what I want? - which can also be stated as: What does this situation call for? (The action. Remember: Acting is doing!)<br />
<br />
i) Why is this happening? Why am I feeling or responding in this way in this situation? (The character’s psychological make-up, motivations, aspects of history that cause this behavior or these points of view.)<br />
<br />
j) What sensory work (object(s), place(s), relationship(s), emotional memories etc.) must be created in order to play the character truthfully and realistically? (The correct Method work to be chosen based on the analysis.)<br />
<br />
Now, the above questions – and especially finding the correct answers to these questions – seem deceptively simple. I have found throughout the years that my students actually have to be taught how to interpret and answer these questions effectively. As their last written assignment, my first years are required to write about why it is important for these questions to be answered when working on a character – referring specifically to the roles played by motivation and justification - and illustrating that they know how to do an effective analysis by providing examples from one of the three scenes they’ve worked on during the year, explaining why they chose certain interpretations and Method work, based on Questions A - J. The results of these assignments are usually very poor (with the odd exception) and most either scrape by with bad marks or fail, having to re-write.<br />
<br />
Why am I telling you this? Because we have to realize that the ability to analyze and comprehend and answer even these seemingly simple questions effectively is something that needs to be acquired and learned. Even senior students sometimes miss the boat completely! The ability to read subtext is an acquired skill that needs to be worked at.<br />
<br />
Whenever I direct a scene or a production, I take the time to go through each of these questions with each actor for each scene in order to make sure that my actors fully understand what they need to do in order to create their characters truthfully and effectively, based on logical interpretation. My senior students are required to go through the same process, providing guidance to less advanced students whenever they are directing or mentoring scene work for class. Both actors and directors need to develop these skills. <br />
<br />
Why is it so important to acquire the skill to do this correctly? If you misunderstand the questions and don’t have the ability to find meaningful, in-depth answers that reflect the intent of the author, the play, the scene and the character, your understanding of what you need to do as a director guiding actors or as an actor (to effectively portray the character within a given situation in order to reflect the required intent and meaning or message), will be faulty. If you don’t know how to find subtext and make decisions while taking it into account, your choices will be superficial and probably ineffective. As a result of the actor’s interpretation being superficial or questionable, the Method work choices may be superficial and questionable, which will result in the actor not playing the character and the character’s intent. As a result the dramatist’s intent will get lost. </div>
<div>
Very few young actors have the insight, wisdom and knowledge required to find the necessary in-depth answers. The skill takes time to develop. We are not born with it, nor does it simply drop out of the sky. If the actor – and please don’t forget the director - doesn’t know what s/he is doing, how can we expect of the audience to “get it”?</div>
<div>
I therefore contend that, before the actor can do anything with the practical relaxation work, sensory recall and truthful, real expression of the sense memory work experienced, the actor needs to have very strong cognitive, comprehension and analytical skills as well as awareness, perception and insight when it comes to understanding the text and character to be performed. If any actor – including the Method Actor – does not have these skills the author’s intent and the play, including the character, will be ineffectively portrayed. It doesn’t matter how beautifully the Method Actor can cry, be fearful, be angry, be in love, be happy, be surprised or express any of the scores of human emotions we experience (as a result of doing sense memory), if it is not done in the context of effective analysis of the play as a whole and each scene in particular, the performance will be weak because the character will not be seen.<br />
<br />
In my next article I will discuss the structuring of scenes (set design, blocking, status, movement, stage craft) in order to enhance meaning visually. See you then! <br />
<br />
Writer: Stephanie van Niekerk, Director, Method Actors' Training Centre </div>
</div>
Anonymousnoreply@blogger.com0Pretoria, South Africa-25.73134 28.21837000000005-26.188972 27.572923000000049 -25.273708 28.863817000000051tag:blogger.com,1999:blog-748509251661052067.post-64738035092643118232013-01-12T05:38:00.002-08:002013-01-12T05:38:52.991-08:00A new Photo Set from when I studied at the Training Centre!<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8btvofrDRXRAnDEcxWBQ2_8BzntVY8c5ioilZRjTkD77paZvjEJsX0VU2IQlL8b457wlO7ozANVzqoSIf1VT0A2JfGdNlxHi39oWscK2gA72ZmTwG2-mtDYBuD8gyrcga1alpxdL6mLU/s1600/Apr%25C3%25A9s+Op%25C3%25A8ra+3+2008.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8btvofrDRXRAnDEcxWBQ2_8BzntVY8c5ioilZRjTkD77paZvjEJsX0VU2IQlL8b457wlO7ozANVzqoSIf1VT0A2JfGdNlxHi39oWscK2gA72ZmTwG2-mtDYBuD8gyrcga1alpxdL6mLU/s640/Apr%25C3%25A9s+Op%25C3%25A8ra+3+2008.JPG" title="Apres Opera" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Don't you just love sleeping on stage.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0_E2b41i6Ep8bKeRqnsdc7_rBxe98FGK6UgPSHq9BJdDB2fFIJGdaJN_dg3Hc0YRBkZino0sFcM4AiH8ZUZlWjFV5rai3VFLVNHmLp_OaWYQsXw0i_9zLE_I9xGyj2sFzoyZsVSFyKp4/s1600/Apr%25C3%25A9s+Op%25C3%25A8ra+1+2008.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0_E2b41i6Ep8bKeRqnsdc7_rBxe98FGK6UgPSHq9BJdDB2fFIJGdaJN_dg3Hc0YRBkZino0sFcM4AiH8ZUZlWjFV5rai3VFLVNHmLp_OaWYQsXw0i_9zLE_I9xGyj2sFzoyZsVSFyKp4/s640/Apr%25C3%25A9s+Op%25C3%25A8ra+1+2008.JPG" title="Apres Opera" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hold me back!<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTO-Ss2ONakGLQRXTRtvp0d4WdwCAKdtOSrU-wVyd7STwwEAeYUYxkK49eJH0AkwpV16ig4A0wsT34vdTfC4g2_gTNpyDsW_ZgLCaNXKB7r6eEZ6MLY5seZtkTGHQyCb64o7QjRoXzFk4/s1600/Renoster+4+2008.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTO-Ss2ONakGLQRXTRtvp0d4WdwCAKdtOSrU-wVyd7STwwEAeYUYxkK49eJH0AkwpV16ig4A0wsT34vdTfC4g2_gTNpyDsW_ZgLCaNXKB7r6eEZ6MLY5seZtkTGHQyCb64o7QjRoXzFk4/s640/Renoster+4+2008.JPG" width="640" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi26kWelNl2NJv-wWqFB1e52tpG6ilC5nXb59NHQ2IjPsIPawZmAF3VZNuxc5rhQp5BFyC04BW5DxytmsGteGKg2TreUAUZL7QbUA7TeuTbJ_i3h3CN3zReL2F0fUF9ZhJe9vqpoalbjcQ/s320/Renoster+6+2008.JPG" width="320" /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXL540Uzlr_TllMCbH3FOVyGIUYuIqp4x4CuuOBE3iErDID0RLBQFj_XRX-MAY0SR4pjey_DbCxjgSms_ly-1-nZCuhRTRIN60pp8wLh6q_6vdR9kwGrlKxUf1N2D_IXqEuITyarza3q8/s1600/Zoo+Story+Maree+%2526+wheelies.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXL540Uzlr_TllMCbH3FOVyGIUYuIqp4x4CuuOBE3iErDID0RLBQFj_XRX-MAY0SR4pjey_DbCxjgSms_ly-1-nZCuhRTRIN60pp8wLh6q_6vdR9kwGrlKxUf1N2D_IXqEuITyarza3q8/s320/Zoo+Story+Maree+%2526+wheelies.JPG" width="230" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
</td></tr>
</tbody></table>
Please feel free to leave a comment...<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
</div>
saske505http://www.blogger.com/profile/16700172474152120201noreply@blogger.com0tag:blogger.com,1999:blog-748509251661052067.post-87439418471424700852013-01-12T02:39:00.000-08:002013-01-20T16:32:00.533-08:00SOLUTIONS TO PRACTICAL PROBLEMS IN APPLYING METHOD PRINCIPLES # 1<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEighLOy40M-jcSgEB86jEpOSEP1kUrn6db8kigDC6Z1t54RW5DbY0pKZzrTVy3VGaKTG7bcsobBdb5gWv4BitJ1eFrgBdHGRCoC7NtlAhQwdIumixfkqnLeOgOOSo_LH76r49ppUtZ1w3E/s1600/ebok-cover-p1-new.png" imageanchor="1" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEighLOy40M-jcSgEB86jEpOSEP1kUrn6db8kigDC6Z1t54RW5DbY0pKZzrTVy3VGaKTG7bcsobBdb5gWv4BitJ1eFrgBdHGRCoC7NtlAhQwdIumixfkqnLeOgOOSo_LH76r49ppUtZ1w3E/s400/ebok-cover-p1-new.png" width="400" /></a><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">While teaching <a href="http://methodacblog.blogspot.com/2012/10/the-madness-in-me-it-must-be-method.html" target="_blank">The Method </a>to adult students in <a href="http://www.methodacting.co.za/" target="_blank">Pretoria, South Africa</a>, over the past twenty-two
years, certain challenges with regard to the successful application of the
practical work to scenes (relaxation, sensory recall and the honest and free
expression thereof) had to be dealt with on a regular basis.</span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="margin-left: 18pt; text-align: justify; text-indent: -18pt;">
<span style="font-size: small;"><span style="color: blue;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">1.<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">Students needed
a framework within which to place the use of skills (relaxation and sensory
recall) being taught and they</span></span></span></div>
<span style="font-size: small;"><span style="color: blue;">
</span></span><br />
<div class="MsoNormal" style="margin-left: 18pt; text-align: justify; text-indent: -18pt;">
<span style="font-size: small;"><span style="color: blue;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">2.<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">clearly experienced
a lack of understanding with regard to how to correctly apply the acting skills being
learned to practical scene work </span></span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">Not actually having
received full instruction myself while I studied, which resulted in confusion,
incorrect working methods and application of techniques, I had to come up with
solutions to these fundamental challenges quickly and effectively … basically
flying by the seat of my pants! </span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-size: small;">
</span><br />
<ol start="1" style="margin-top: 0cm;" type="1">
<li class="MsoNormal" style="text-align: justify;"><span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">Firstly,
while <span style="color: blue;"><b>what</b></span> is being taught has
remained sacrosanct, certain aspects of <span style="color: blue;"><b>how</b></span> it is being taught – in terms of supplying a foundation of
knowledge on which to base the use of acting skills – has changed
radically with regard to how I was instructed back in the day …due to what I've added to the syllabus.</span></span></li>
<li class="MsoNormal" style="text-align: justify;"><span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">Secondly,
it had become clear that<b> <span style="color: blue;">additional information </span></b><span style="background-color: blue;"></span>needed to be added to my syllabus. Text analysis, a strong
focus on practical scene analysis, a study of the theory of drama and
acting, stage craft, blocking for stage and voice development have all been
successfully employed in an attempt to solve problems. </span></span></li>
<li class="MsoNormal" style="text-align: justify;"><span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">Students
have to write and pass three written assignments a year in order to prove
that they understand the <span style="color: blue;"><b>theory of application and correct working methods</b><span style="background-color: blue;"></span></span> when making decisions about <span style="color: blue;"><b>work choices</b></span> as well as <b><span style="color: blue;">why</span> </b>things are being done the
Method Way.</span></span></li>
</ol>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<br />
<br />
<br /></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ8QMfPBL2Zx2g2TFnjzNQlFtPqiFaACFtTL3_CiPwR5SKcdmtcvhjZRs-hheR7iYXuR6W1QV9OYfEffd-9mzlZsTNcsq0PK1oiSd_yvHya1dQsz6pKEIC7dn57_qTNPv7wc4pSte4HPw/s1600/online_add_Method_Actors_Training-_Centre_Pretoria.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ8QMfPBL2Zx2g2TFnjzNQlFtPqiFaACFtTL3_CiPwR5SKcdmtcvhjZRs-hheR7iYXuR6W1QV9OYfEffd-9mzlZsTNcsq0PK1oiSd_yvHya1dQsz6pKEIC7dn57_qTNPv7wc4pSte4HPw/s200/online_add_Method_Actors_Training-_Centre_Pretoria.png" title="addvertisement" width="142" /></a><span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">The development, not
of a new way of teaching The Method, but of a package of knowledge and
information on which to base the use of <span style="color: blue;"><b>practical
acting skills</b></span> with insight and understanding, has resulted from my
trial-and-error attempts at problem-solving over the years. </span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">My goal is to document
and make available guidelines which will assist Method students and other
actors in gaining an understanding of how to apply their practical acting
skills through providing a framework based on competency in analysis, voice and
stage craft and a knowledge of acting theory, since such guidelines were not,
as a rule, discussed by Method teachers at the Lee Strasberg Theatre Institute
New York during my period of study there (1981 – 1984).</span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">I did a B.A. Drama
degree at the University of Pretoria before going to Canada and the United
States. As a result of my brush with academics, I understood the importance of
analysis. Most student actors, however, think that you receive a text, you
learn your lines by rote, someone tells you where to stand or sit or walk, you
somehow say your lines absolutely brilliantly at the drop of a hat while
executing your movements meaningfully at the same time because you’re naturally
damn good … and, VOILA! you’re an actor!!</span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">This sadly desperate
belief suffered from by so many who wish to “act” would’ve been funny if it
wasn’t so tragically ignorant … but there you have it. Nothing to be done! It
usually comes as quite a shock to my first year students to discover that <span style="color: blue;"><b>strong language, comprehension and
analytical skills</b></span> are absolutely essential to the art of acting and
directing. So, one of the most important subjects I’ve added to my curriculum
is <span style="color: blue;"><b>Text Analysis</b></span>. My students need
to study and research three plays and their authors every year and pass
an oral exam within a workshop setting on each drama or fail the course. An
actor who is incapable of, or simply doesn’t do analysis, will have no idea
where to begin in making the right decisions for the play and the character,
based on the text, or how to eventually pick the right Method work to create
that character in a way that is real and truthful and reflects the author’s
intent. </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br />
<br />
<br /></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">I’ve been wondering
how often the complaints made by directors / fellow actors and other critics in
the professional acting world, that so-called Method actors only act
themselves, churning out the big emotions, can be laid at the door of the
inability or unwillingness to do proper text analysis in order to play the <span style="color: blue;"><b>character</b></span>. As a result, these actors
end up showing the audience how many big, real, honest emotions (thanks to
sense memory) they can string together. We see the <span style="color: blue;"><b>actor</b></span> acting. We don’t see the <span style="color: blue;"><b>character</b></span>
being. This means that the actor is failing dismally at his or her job. </span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">Text and scene
analysis is therefore a fundamental and integral part of the training I give my
Method students in order to assist them to make the <span style="color: blue;"><b>correct work choices</b></span> in order to <span style="color: blue;"><b>play the dramatist’s message </b><span style="color: black;">and</span><b> the character.</b></span> </span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-size: small;">
</span><br />
<div align="center" class="MsoNormal" style="margin-right: 5.3pt; text-align: center;">
<span style="color: blue;"><span style="font-size: small;"><b><u><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">STEP # 1</span></u></b></span></span></div>
<span style="font-size: small;">
</span><br />
<div align="center" class="MsoNormal" style="margin-right: 5.3pt; text-align: center;">
<span style="font-size: small;"><b><u><span lang="EN-US" style="font-family: "Arial","sans-serif";"><span style="text-decoration: none;"><br /></span></span></u></b></span></div>
<span style="font-size: small;">
</span><br />
<div align="center" class="MsoNormal" style="margin-right: 5.3pt; text-align: center;">
<span style="color: blue;"><span style="font-size: small;"><b><u><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">HOW DO YOU BREAK DOWN A PART?</span></u></b></span></span></div>
<h1 style="line-height: normal; margin: 12pt 33.65pt 0.0001pt 72pt; text-indent: -50.7pt;">
<span style="font-size: small;"><span style="font-weight: normal;"><span lang="EN-GB" style="font-family: "Tahoma","sans-serif";">1. Do a thorough <span style="color: blue;"><b>analysis</b></span> of the play
using external sources also and not your personal understanding only, which may
be way off the mark: study theme, plot, conflict, author's intent.</span></span></span></h1>
<h1 style="line-height: normal; margin: 12pt 33.65pt 0.0001pt 72pt; text-indent: -50.7pt;">
<span style="font-size: small;"><span style="font-weight: normal;"><span lang="EN-GB" style="font-family: "Tahoma","sans-serif";"></span></span></span></h1>
<span style="font-size: small;">
</span><br />
<h1 style="line-height: normal; margin: 0cm 33.65pt 0.0001pt 72pt; text-indent: -50.7pt;">
<span style="font-size: small;"><span style="font-weight: normal;"><span lang="EN-GB" style="font-family: "Tahoma","sans-serif";">2. Do a thorough analysis of the
<span style="color: blue;"><b>character</b></span>, including the life of the character before the beginning of the
play, based on the facts contained in the script. Write a <span style="color: blue;"><b>Who am I? </b><span style="color: black;"><span style="font-size: small;">as the character, not as yourself!</span></span><b><br /></b></span></span></span></span></h1>
<h1 style="line-height: normal; margin: 0cm 33.65pt 0.0001pt 72pt; text-indent: -50.7pt;">
<span style="font-size: small;"><span style="font-weight: normal;"><span lang="EN-GB" style="font-family: "Tahoma","sans-serif";"><b> </b></span></span></span></h1>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="margin-left: 35.45pt; text-indent: -14.15pt;">
<span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">3. Ascertain
the over-all objectives of the character: <span style="color: blue;"><b>What do I want?</b></span></span></span></div>
<div class="MsoNormal" style="margin-left: 35.45pt; text-indent: -14.15pt;">
<span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";"><br /></span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="margin-left: 72pt; text-indent: -50.7pt;">
<span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">4. Answer <span style="color: blue;"><b>Questions A – J</b></span> for each scene based on the text including:</span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="margin-left: 72pt;">
<span style="font-size: small;"><span style="color: blue;"><span style="background-color: white;"><b><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">What do I want in this specific scene? </span></b></span></span><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">The main <span style="color: blue;"><b>objective/intent</b></span> in each scene, according to which you make your Method
work choices for real response and behavior by the character.</span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="margin-left: 71.45pt; text-indent: 0.55pt;">
<span style="font-size: small;"><span style="color: blue;"><b><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">What is in my way?</span></b></span><span lang="EN-US" style="font-family: "Tahoma","sans-serif";"><b>
</b>Ascertain the <span style="color: blue;"><b>obstacle</b></span>, if there is
one.</span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: 115%; margin-left: 71.45pt;">
<span style="font-size: small;"><span style="color: blue;"><b><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; line-height: 115%;">What do I do to get what I
want?</span></b></span><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; line-height: 115%;"><span style="color: blue;"> </span>The <span style="color: blue;"><b>action</b></span>,
which is usually given to you by the dramatist as part of the text and is
worked out specifically in order for the character to achieve (or lose out on) his or her Intent.</span></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-left: 71.45pt;">
<br /></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: 115%; margin-left: 71.45pt; text-indent: -71.45pt;">
<span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; line-height: 115%;"> 5. Do a</span><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; line-height: 115%;">
</span><span style="color: blue;"><b><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; line-height: 115%;">Breakdown
of Beats</span></b></span><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; line-height: 115%;">: A beat starts when an immediate objective
sets in, and is complete when the objective has been reali<span style="font-size: small;">z</span>ed or finally lost.
A beat can also start when a new motivation sets in or when an emotional or
mood shift occurs – when there is a change. A new intent and specific actions
may come into play with a new beat. This helps you to achieve <span style="font-size: small;"><span style="color: blue;"><b>light and shade</b></span> in your performance.</span></span></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-left: 71.45pt; text-indent: -71.45pt;">
<span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; line-height: 115%;"><br /></span></span></div>
<span style="font-size: small;">
</span><br />
<h1 style="line-height: normal; margin: 0cm 33.65pt 0.0001pt 72pt; text-indent: -50.7pt;">
<span style="font-size: small;"><span style="font-weight: normal;"><span lang="EN-GB" style="font-family: "Tahoma","sans-serif";">6. Take a careful look at all the <b><span style="color: blue;">Conditioning Forces</span> </b>and make real for
yourself the time, period in history, place, and objects that surround you.</span></span></span></h1>
<h1 style="line-height: normal; margin: 0cm 33.65pt 0.0001pt 72pt; text-indent: -50.7pt;">
<span style="font-size: small;"><span style="font-weight: normal;"><span lang="EN-GB" style="font-family: "Tahoma","sans-serif";"> </span></span></span></h1>
<span style="font-size: small;">
</span><br />
<h1 style="line-height: normal; margin: 0cm 33.65pt 0.0001pt 35.45pt; text-indent: -14.15pt;">
<span style="font-size: small;"><span style="font-weight: normal;"><span lang="EN-GB" style="font-family: "Tahoma","sans-serif";">7. Study
<span style="color: blue;"><b>Relationships</b></span>:</span></span></span></h1>
<span style="font-size: small;">
</span><br />
<h2 style="line-height: normal; margin: 0cm 33.65pt 0.0001pt 35.45pt; text-indent: -14.15pt;">
<span style="font-size: small;"><span style="font-weight: normal;"><span lang="EN-GB" style="font-family: "Tahoma","sans-serif";"> 7.1. The
character's relationship to the play</span></span></span></h2>
<span style="font-size: small;">
</span><br />
<h2 style="line-height: normal; margin: 0cm 33.65pt 0.0001pt 35.45pt; text-indent: -14.15pt;">
<span style="font-size: small;"><span style="font-weight: normal;"><span lang="EN-GB" style="font-family: "Tahoma","sans-serif";"> 7.2. The
character's relationship to other characters in the play</span></span></span></h2>
<span style="font-size: small;">
</span><br />
<h2 style="line-height: normal; margin: 0cm 33.65pt 0.0001pt 35.45pt; text-indent: -14.15pt;">
<span style="font-size: small;"><span style="font-weight: normal;"><span lang="EN-GB" style="font-family: "Tahoma","sans-serif";"> 7.3. The
character's relationship to objects in the play</span></span></span></h2>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: blue;"><span style="font-size: small;"><b><u><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">HOW
DO YOU INCORPORATE AND USE <i>THE METHOD</i> </span></u></b></span></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: blue;"><span style="font-size: small;"><b><u><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">WHEN <span style="font-size: small;"></span>PORTRAYING A ROLE</span></u></b><b><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">?</span></b></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 21.3pt; text-align: justify;">
<span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">Once you
have broken down the part in this way, finding <b><span style="color: blue;">Justifications</span> </b>and <span style="color: blue;"><b>Motivations</b></span>
for all the character’s actions and responses and working out <b><span style="color: blue;">intents</span> </b>and <span style="color: blue;"><b>specific actions</b></span> for each scene, you start searching for appropriate
Method work: personalisations, substitutions, personal objects, overall sensations,
emotional or effective memory work, animal or portrait work; the ways of
building a character, etc. You test your chosen Method tasks by yourself and in
rehearsal to make sure that it works in terms of the play, the character’s
intent(s) and who the character is. You want to make sure that the end results
of your tasks are logical and suitable for the <b><span style="color: blue;">character</span> </b>and that you are playing the <span style="color: blue;"><b>intent of the author</b></span>. You make Method choices that fit in with the
play and the character in order to make the role and actions you are portraying
real, truthful and original.</span></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-left: 21.3pt; text-align: justify;">
<span style="font-size: small;"><span style="color: blue;"><b><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">Questions A – J</span></b></span><span lang="EN-US" style="font-family: "Tahoma","sans-serif";"> will be discussed
in my next article, so watch this space!</span></span><br />
<span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";"><br /></span></span>
<span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">Read the previous post here - </span></span><a class="GLVTYVNPB" href="http://methodacblog.blogspot.com/2013/01/problems-experienced-in-applying-method.html" style="border: 0px; color: #1155cc; font-family: Arial, Helvetica, sans-serif; font-size: 13.333333969116211px; margin: 0px 10px 0px 0px; padding: 0px; text-align: -webkit-left; text-decoration: initial; vertical-align: baseline;">PROBLEMS EXPERIENCED IN APPLYING METHOD PRINCIPLES...</a></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="margin-left: 21.3pt; text-align: justify;">
<br /></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="margin-left: 21.3pt; text-align: justify;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWJKlv4n2I05zkl6PWVf_dlj5MoHBHhL_WBJG8asbXL9FCpYF3WxqHSfyWXyAfV0MC9kH5pYnhuXM6caBjYOquCfIW2O6B-s_NdaU_6vLe6_ZcmzvvS8VuOKLfrCWwe_WE2KRMPADcw8g/s1600/add-1-method2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWJKlv4n2I05zkl6PWVf_dlj5MoHBHhL_WBJG8asbXL9FCpYF3WxqHSfyWXyAfV0MC9kH5pYnhuXM6caBjYOquCfIW2O6B-s_NdaU_6vLe6_ZcmzvvS8VuOKLfrCWwe_WE2KRMPADcw8g/s320/add-1-method2.png" width="320" /></a></div>
<span style="color: blue;"><b><span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";">Stephanie
van Niekerk </span></span></b></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt; text-align: justify;">
<span style="color: blue;"><b><span style="font-size: small;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif";"><a href="http://www.methodacting.co.za/" target="_blank">Director<span style="font-size: small;"> - </span> Method Actors’ Training Centre</a></span></span></b></span></div>
</div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-748509251661052067.post-18279231629612936742013-01-10T08:15:00.000-08:002013-01-10T09:12:24.939-08:00DO THE WORK!!!<div dir="ltr" style="text-align: left;" trbidi="on">
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-ZA</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:DontVertAlignCellWithSp/>
<w:DontBreakConstrainedForcedTables/>
<w:DontVertAlignInTxbx/>
<w:Word11KerningPairs/>
<w:CachedColBalance/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><br />
<div class="MsoNormal" style="text-align: justify;">
I have always dreamed of becoming
an actress. As a child I was very confident, singing and dancing at every given
opportunity. I believed in myself without question.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
After school I studied Method acting
and voice for 4 years at <a href="http://www.methodacting.co.za/" target="_blank">THE METHOD ACTORS’ TRAINING CENTRE</a>. This experience
enriched my life and brought my dream a little closer.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
At age 22 I started looking for
acting work. Completing your studies and going out into the <i style="mso-bidi-font-style: normal;">big world</i> alone is a very scary thing; you
feel unprepared for what you need to do when school is finally behind you and
you have to face the realities out there all by yourself. Initially you are
very excited and then very scared!</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
I got an agent, waited, went for
auditions.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
I discovered that when I did land
professional acting work I still felt empty inside. Nothing was fulfilling me
and after four hard years of part-time jobs, failed auditions, theatre
productions filled with people that did not take their job seriously and voice-overs
done to survive, I threw in the towel and gave up!</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
I had always said: “If this
doesn’t work out I will simply get a real job!” So ... this is what I decided to do. I
took a job as an event manager and gave up on acting all together.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Two weeks into the job I was so
depressed that I could not get out of bed in the morning. I had signed a three-month
contract and I was determined to see it through but no matter how hard I tried
to get somewhere and “stay positive”, I simply could not. </div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
By the time the third month came
around I was literally crying every day and I was gaining weight. I became
suicidal, praying that the earth would swallow me up. For those who do not know me: this
is not my personality at all as I am usually a bright and enthusiastic person.
</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
I had to face what was eating me
alive inside. Was it really the job? The routine? The money-hungry boss? I did
not know and my mind never became peaceful about what was upsetting me so much.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
My contract was extended by one
month and I accepted it so that I could have money to go on vacation. The final
month of work was the worst as the job became very stressful. We had a crisis
on our hands and I had to cope with double the work load.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
I started having a nervous breakdown. I could not remember anything, I had no energy and I was moody. This was
a very scary time for me because I could not trust myself. One day I lost my
parking ticket and nearly got arrested because of the way I acted in the
parking office. I was totally OUT OF CONTROL and my life was falling apart.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
I worked my last day and got onto
a flight that same night. I traveled to Cape Town and joined my boyfriend and his
family on vacation. During this period I had time to sit down and just be in
nature and with myself. I discovered certain truths about things that were keeping me back.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Firstly, I realized that my dad
did not believe in my acting abilities. I can’t say he did not support me or
tried to hinder me but he made it very clear to me that I would be a better manager
than an actor. One day I sat him down and asked:<span style="mso-spacerun: yes;"> </span>“Why do you not believe in me?” and his
response was chilling. He said: “Well, do you want me to lie to you?” followed
by the entire speech (all over again) about me becoming a manager! I cried for
days after this conversation.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
I realized that I would need to
let this go because it was holding me back. I had felt that I needed his
support before I could believe in myself. I had thought that I would make it if
only he believed in me. I blamed him for me not “making it”. I recognized that
this was holding me back and so I simply let it go. I felt free afterwards and
decided that nobody would ever have that amount of influence on me again.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Secondly, it became clear to me that I'd never
had faith in myself. At every audition I actually believed that there was someone
better than me for the part. </div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Thirdly, it hit me that I had been
sitting around for the past few years, waiting for the perfect audition, and that
I was not <b><span style="color: #7030a0;">doing the work</span>.</b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
I then came to the conclusion
that these aspects were all linked. I never did <b><span style="color: #7030a0;">the
work</span></b> because I was scared of actually being successful. I did not
believe in myself or the fact that I could be a good actor and my dad not
believing in my acting career confirmed what I thought about myself. Once I became aware of
this, I decided to change totally and to actually start believing in my
abilities. <span style="mso-spacerun: yes;"> </span>Suddenly the Great Depression
lifted and I felt free again!</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
I decided that from now on I will
<b><span style="color: #7030a0;">do the work</span> </b>and have confidence in myself
until the day comes when the right door is opened for me. </div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
You cannot be an actor if you do
not <b><span style="color: #7030a0;">do the work</span></b>. On the video clip placed elsewhere
on this blog, Will Smith says that people confuse talent and skill. Talent you are
born with but skill is something you learn (which is absolutely essential to
have if you want to be a viable artist).<span style="mso-spacerun: yes;">
</span>As an actor it is your duty to do a voice warm-up and articulation exercises
every day. You have to work on a monologue or dialogue under your own steam when you are
not working in the industry in order to keep your acting techniques going and your
instrument fresh and ready to perform when you do get work. <b><span style="color: #7030a0;">It is a full-time job even when you’re between jobs! </span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
My days are very different now. I
spend at least a third of every day working on myself and training my voice and
acting abilities / techniques. Do not think that just because you have studied
you can relax at home and work on your instrument the day you get a job in the
industry. My Method teacher, Stephanie van Niekerk, keeps saying over and over
again … year after year … that an actor cannot afford to stop working on his or
her instrument once the studies have been completed. Like a musician or ballet
dancer, who has to practice every day, the actor has to keep working on acting
and voice technique continuously or s/he will be back at square one pretty
quickly! <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #7030a0;"><b>BELIEVE
IN YOURSELF</b> </span>… believe that you are the best and you will be.</div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #7030a0;"><b>DO
THE WORK</b> </span>… and you will succeed!<span style="color: #7030a0;"></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Here is the trick though:
surround yourself with your true brothers and sisters (these are the people who
believe in you and support you); believe without a shadow of a doubt in your
mind that this is your destiny and work as hard as you can on your instrument
and your skills<b> <span style="color: #7030a0;">every day</span>. </b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
At my birthday dinner in January
I told my entire family that I will be acting again this year. My dad asked how I
would do that and I told him that I planned to work as hard as I needed to in
order to get where I want to be. I added that whoever does not believe in me
would not stand in my way as I was prepared to cut them out.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
My dad's response was that it is great! ...
and I now have his support.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
You see, throughout my whole life
I'd thought that he did not believe in me because I was not good enough … <span style="mso-spacerun: yes;"></span>but the truth is that he did not believe in me
because I did not believe in me!</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
You cannot lie to the world about
how you feel about yourself because it shines through anyway.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
I will only give up on my passion the day I die
because I have found something that is worth dedicating my life to. I have
found something that is worth dying for.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Watch Will Smith in the video
clip <span style="color: #7030a0;">“<b>While you are sleeping I will be working</b>”</span>.
I hope it inspires you <b><span style="color: #7030a0;">to work</span> <span style="color: #674ea7;">harder</span></b> than
ever before!<br />
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjckDh_XmtkYdVnAeDOhLIRQEdrWVcpTrIFRir56pHzueP9Q-tpyPAQLV7Z2L5qTO_FR1w1PgWiv_ZMS1tYeCxR2Y10ic0Jq7x8VxmPFxl4aX0DBbAtsXKo1aUNVdMnRXcm0qjFgrTqBJk/s1600/image001.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjckDh_XmtkYdVnAeDOhLIRQEdrWVcpTrIFRir56pHzueP9Q-tpyPAQLV7Z2L5qTO_FR1w1PgWiv_ZMS1tYeCxR2Y10ic0Jq7x8VxmPFxl4aX0DBbAtsXKo1aUNVdMnRXcm0qjFgrTqBJk/s1600/image001.jpg" width="187" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px; text-align: start;">Michelle Victor as Sam in </span><i style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px; text-align: start;">Daydreams and Nightmares</i><span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px; text-align: start;"> (2010)</span><i style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px; text-align: start;">, </i><span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px; text-align: start;">a Method Actors’ Training Centre workshop production based on improvisations</span></td></tr>
</tbody></table>
<b><span style="color: #674ea7;">Written by: Michelle Victor, <a href="http://www.methodacting.co.za/Alumni.htm" target="_blank">Method Actors' Training Centre Alumni</a> and Actress</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
</div>
</div>
Anonymousnoreply@blogger.com3tag:blogger.com,1999:blog-748509251661052067.post-58641978497523162602013-01-08T08:03:00.001-08:002013-01-08T08:03:56.331-08:00Great Inspiration By Will Smith<iframe allowfullscreen="" frameborder="0" height="344" src="http://www.youtube.com/embed/3naB8t-ffDo" width="459"></iframe><br />
<br />
Please feel free to leave a comment...saske505http://www.blogger.com/profile/16700172474152120201noreply@blogger.com0tag:blogger.com,1999:blog-748509251661052067.post-65741581758721544692013-01-06T08:33:00.000-08:002013-01-10T03:11:33.731-08:00PROBLEMS EXPERIENCED IN APPLYING METHOD PRINCIPLES<div dir="ltr" style="text-align: left;" trbidi="on">
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-ZA</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:DontVertAlignCellWithSp/>
<w:DontBreakConstrainedForcedTables/>
<w:DontVertAlignInTxbx/>
<w:Word11KerningPairs/>
<w:CachedColBalance/>
</w:Compatibility>
<w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="0" Name="Body Text"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman","serif";}
</style>
<![endif]--><!--[if gte mso 9]><xml>
<o:shapedefaults v:ext="edit" spidmax="1026"/>
</xml><![endif]--><!--[if gte mso 9]><xml>
<o:shapelayout v:ext="edit">
<o:idmap v:ext="edit" data="1"/>
</o:shapelayout></xml><![endif]-->
<br />
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="color: magenta;"><b><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; text-decoration: none; text-underline: none;">PRACTICAL PROBLEMS IN </span></b></span></div>
<span style="color: magenta;"><b>
</b></span><br />
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="color: magenta;"><b><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; text-decoration: none; text-underline: none;">APPLYING METHOD PRINCIPLES</span></b></span><br />
<span style="color: magenta;"><b><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; text-decoration: none; text-underline: none;"><br /></span></b></span></div>
<div class="MsoBodyText">
<div style="text-align: center;">
<a href="http://methodacblog.blogspot.com/2013/01/method-acting-as-therapy.html" target="_blank">Click here to read the previous post</a></div>
</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">As previously mentioned, <a href="http://www.methodacting.co.za/" target="_blank">The Method </a>has been
criticized all over the world since <a href="http://methodacblog.blogspot.com/2012/10/the-madness-in-me-it-must-be-method.html" target="_blank">Lee Strasberg</a> first started experimenting
with new techniques in acting and actor training, based on the work of
Constantin Stanislavsky, in the United States during the 1940’s. Many directors, actors,
producers, theatre critics and teachers who have never actually studied The
Method are strongly, often quite virulently, opposed to it as a training- and
acting technique. Judgments are often based on nothing but preconceptions, assumptions,
ignorance and a lack of understanding, though some detractors have had
unfortunate working experiences with Method actors incapable of applying their
skills judiciously, while others have studied The Method and found the
experience and working procedures to be unsatisfactory and even negative. Whatever the
circumstances, opposition and criticism from many quarters have been well
documented in the United States, Britain and elsewhere and the fact remains
that <a href="http://methodacblog.blogspot.com/2012/12/it-aint-easy.html" target="_blank"><span style="color: magenta;"><b style="mso-bidi-font-weight: normal;">there must be a reason for it</b></span>.</a></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">While I was studying
at the at the Lee Strasberg Theatre Institute in New York (1981 – 1984) my
peers and I were troubled by many questions as to how the work (sense memory,
emotional memory, the different Method techniques that were part of our
training) was to be successfully and correctly applied in practice by the actor. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">At the time, the syllabus
was based on the practical training of the actor’s instrument with regard to
the following skills:</span><br />
<br />
</div>
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt; text-align: justify; text-indent: -18.0pt;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: Tahoma;"><span style="mso-list: Ignore;">
</span></span><br />
<br />
<div style="background-color: white; border: 1px solid rgb(204, 204, 204); color: black; font-family: Verdana; width: 300px;">
<div style="background-color: white; font-size: 11px; margin: 5px;">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://static.locanto.co.za/images/Locanto_64.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://static.locanto.co.za/images/Locanto_64.jpg" /></a></div>
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: Tahoma;"><span style="mso-list: Ignore;"> Pretoria</span></span></div>
<iframe src="http://www.locanto.co.za/run/embedded/?i=147186076&ft=1&fs=S&tcol=000000&lcol=0000ff&bcol=ffffff" style="border: 0px none; display: block; height: 280px; overflow-x: hidden; overflow-y: auto; width: 300px;"></iframe><br />
<div style="font-size: 11px; padding: 5px;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: Tahoma;"><span style="mso-list: Ignore;"> Category: <a href="http://pretoria.locanto.co.za/other-classes/713/" style="color: blue;">other classes Pretoria</a></span></span><br />
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: Tahoma;"><span style="mso-list: Ignore;"> </span></span></div>
</div>
<br />
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: Tahoma;"><span style="mso-list: Ignore;"> </span></span></div>
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt; text-align: justify; text-indent: -18.0pt;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: Tahoma;"><span style="mso-list: Ignore;">1. Relaxation. </span></span></div>
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt; text-align: justify; text-indent: -18.0pt;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: Tahoma;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">The
ability to experience, express and use sense memory as an acting tool.</span></div>
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt; text-align: justify; text-indent: -18.0pt;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: Tahoma;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">The
development of acting techniques based on sense memory.</span></div>
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt; text-align: justify; text-indent: -18.0pt;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: Tahoma;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">The
application of sense memory to practical scene work – with emphasis on truthful
experience and the expression thereof.</span></div>
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt; text-align: justify; text-indent: -18.0pt;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: Tahoma;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">Classes
in movement (jazz, Tai Chi, ballet), different accents, audition techniques and
directing for film and TV.</span></div>
<div class="MsoNormal" style="margin-left: 18.0pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">Fellow-students and
I spent many hours sitting around in restaurants trying to figure out answers
to the questions that were not being answered by our instructors. We were
confused and unsure since essential information about application of “the work”
was not being addressed specifically enough. Most of us felt that we were
stumbling around in the dark without a clue as to what to actually <b style="mso-bidi-font-weight: normal;">do</b> with what we were learning and how
to do it effectively and gracefully. It became clear to me at this stage why many
so-called “<a href="http://methodacblog.blogspot.com/2012/10/method-actors-training-centre-south.html" target="_blank">Method actors</a>” were doing bad work and causing The Method to get a negative response in the industry. Many were learning or had learned skills they had no idea how to
apply correctly and were making serious acting mistakes, calling the entire working
technique into question and giving The Method a “bad name” due to ignorance and
a lack of proper working methods. <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br />
<h3 style="text-align: center;">
<span style="text-align: justify;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: 11pt;">Over the next week
or two I will be discussing the solutions </span><span style="font-size: 15px;">I've</span><span style="font-size: 11pt;"> come up with as a teacher of
Method in Pretoria, South Africa, in addressing the challenges and the gaps in
instruction that my peers and I were struggling with in my New York days.</span></span></span></h3>
</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">I hope you will find
the process informative and helpful as I continue this exploration into <span style="color: magenta;">my
understanding</span> of how the Method actor can learn to apply this most valuable
work effectively, correctly and truthfully and why I've added certain skills, like text analysis, to my courses! </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">I hope to see you back here soon ...</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;"><span style="color: magenta;">Stephanie van Niekerk</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;"><span style="color: magenta;">Director - Method Actors' Training Centre </span></span></div>
</div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-748509251661052067.post-64399380013602887672013-01-04T14:39:00.003-08:002013-01-05T02:50:42.544-08:00 METHOD ACTING AS “THERAPY”<div dir="ltr" style="text-align: left;" trbidi="on">
<b style="text-align: justify;"><span lang="EN-US" style="color: #f79646; font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">The two primary techniques the actor-artist needs to develop and
learn to use practically as a character in scene work are: Relaxation and Sense
Memory. There are, of course many different exercises and techniques that form
part of <a href="http://methodacblog.blogspot.com/2012/10/the-madness-in-me-it-must-be-method.html" target="_blank">The Method</a>, but the above-mentioned are the foundation stones.</span></b><br />
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #f79646; font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">The Method has, at its centre, the requirement that we learn to
love and honor and accept ourselves, warts and all, and use our individual
qualities in our work in order to make the characters we portray real and
believable. We get to know and work with all aspects of ourselves – whether we
like them or not – since we have nothing other than our own selves that can be
used to create “someone else”.<u> </u></span></b></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 0cm; margin-top: 0cm; mso-list: l0 level1 lfo1; tab-stops: list 1.0cm; text-align: justify; text-indent: -1.0cm;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-fareast-font-family: Tahoma;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Method
students learn to become still and centered through relaxation work. They are
placed in a position where they can either use the opportunity to focus in on
themselves and become aware of their own bodies, senses, breathing, muscles,
thoughts and feelings or they can run away from the reality of their own
experiences and response to life. If they hope to do the work correctly and
develop as actor-artists, they choose the former. Those who are too terrified
of what they might find if they become quiet and connect and therefore get to
know themselves, usually leave the course quickly.</span></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;">
<br /></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 0cm; margin-top: 0cm; mso-list: l0 level1 lfo1; tab-stops: list 1.0cm; text-align: justify; text-indent: -1.0cm;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-fareast-font-family: Tahoma;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">This
usually also happens to those who <a href="http://methodacblog.blogspot.com/2012/12/idiot-winds-part-1.html" target="_blank">don’t really</a> want to be actor-artists but
hope to become famous and wealthy and therefore can’t see the point in doing
this work at all while sitting in class waiting to be “discovered”.</span></div>
<div class="MsoListParagraph">
<br /></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 0cm; margin-top: 0cm; mso-list: l0 level1 lfo1; tab-stops: list 1.0cm; text-align: justify; text-indent: -1.0cm;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-fareast-font-family: Tahoma;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Relaxation,
however, is a <b style="mso-bidi-font-weight: normal;"><span style="color: #f79646;">must</span></b>
and brings the actor-artist in touch with him or herself in the most intimate
way.</span></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;">
<br /></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 0cm; margin-top: 0cm; mso-list: l0 level1 lfo1; tab-stops: list 1.0cm; text-align: justify; text-indent: -1.0cm;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-fareast-font-family: Tahoma;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Sense
Memory teaches the student to develop concentration and the ability to focus
on, recreate and respond to sensory experience – sight, sound, touch, taste,
smell and “overall sensations” in the body. Response can be purely physical or
emotional or both. Though this is not the main purpose (which is to give an
honest, real performance as a character) the process does develop perception,
awareness and understanding of the surrounding world and creates a deep
connection with the personal aspects of self on all levels.</span></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 0cm; margin-top: 0cm; mso-list: l0 level1 lfo1; tab-stops: list 1.0cm; text-align: justify; text-indent: -1.0cm;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-fareast-font-family: Tahoma;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #f79646; font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Effective and/or
Emotional Memory</span></b><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">, for instance,
are two of the most important Method acting techniques and are based on
relaxation and sense memory: The student recreates a heightened situation from
his/her own life through either describing the sensory experiences at the time
of a certain occurrence or recreating the sensory realities in the body. S/he does
not tell the story or give the facts of the situation but relates only the
sensory experiences to a teacher in class. This keeps the student safe and the
personal information private. These techniques are used when a strong response
of fear, joy, jealousy, excitement, pain, laughter, anger, being in love, etc.
is required to create the character or responses required by the character.
These heightened memories must be at least seven years old – fresh pain is
never worked on – and is always to be done in class with an experienced teacher
who can deal with any challenges that may arise. Less loaded or “ordinary” life
memories can be worked on by experienced students without having to be taken
through the process by a teacher. </span></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;">
<br /></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Either way, as with all Method exercises
that require response and expression, the only real difficulty arises when the
student does not express fully and freely (through reasons like fear,
resistance, being blocked, etc.), which may cause the body to start tingling
and freeze up due to blocked sensation and expression. There are easy
techniques to clear this and continue working. </span></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;">
<br /></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Students that do this work successfully
and repeat the memory as an exercise a number of times, get to work through the
life memory and heal the experience, which loses its “kick” by becoming
familiar through repetition. The student also has the opportunity to “manage”
and “observe” the past life situation from the outside, releasing any fears
there may still be around the experience and taking charge of the process from
a new perspective and armed with new resources. Distance is obtained and this
brings about healing, self-confidence, a sense of personal power in solving
life issues, maturity and insight.</span></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;">
<br /></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 0cm; margin-top: 0cm; mso-list: l0 level1 lfo1; tab-stops: list 1.0cm; text-align: justify; text-indent: -1.0cm;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-fareast-font-family: Tahoma;"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Though
acting brings up many fears and concerns about forgetting your lines, falling
over the mat on opening night, looking like a fool, making a hash of things,
etc. and causes major stress about not being good or beautiful or talented
enough (the usual nightmares suffered by the over-sensitive actor) students do
get the opportunity to work through their emotional and/or life issues during
the training process, if they wish to do so. Low self-esteem, shyness,
jealousy, lack of confidence, fear of being observed or communicating with
groups of people, the inability to be “yourself” etc. are often successfully
dealt with over time. If actor-artists go through with the training process,
they become much more self-accepting – dropping their masks – and learn to like
who they are. This enables them to be honest and open and express themselves
truthfully as artists.</span></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify;">
<br /></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 0cm; margin-top: 0cm; mso-list: l0 level1 lfo1; tab-stops: list 1.0cm; text-align: justify; text-indent: -1.0cm;">
<span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-fareast-font-family: Tahoma;"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">We
need to stress that actor training is about<b style="mso-bidi-font-weight: normal;">
<span style="color: #e36c0a;">training actors</span></b>. It has become clear to
me over time, however, that the development of insight, maturity, personal,
spiritual and emotional growth, becoming aware of and healing psychological
issues, as well as understanding and acceptance of the self, seem to be part of
the package. Acting is a very personal process where the individual trains and
uses him or herself – body, mind, emotions, voice, movement, creative ability, intellect
– to create “others” truthfully. When you work with yourself in this way, truth,
self-awareness and self-knowledge <b style="mso-bidi-font-weight: normal;"><span style="color: #f79646;">must</span></b> result. </span></div>
<div class="MsoListParagraph">
<br /></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #e36c0a; font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><a href="http://www.linkedin.com/profile/view?id=108902797&locale=en_US&trk=tyah" target="_blank">Stephanie van Niekerk</a></span></b></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #e36c0a; font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><a href="mailto:methodac@neomail.co.za" target="_blank">Director</a></span></b></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #e36c0a; font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><a href="http://www.methodacting.co.za/" target="_blank">Method Actors’ Training Centre</a></span></b></div>
<div class="MsoBlockText" style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #e36c0a; font-family: "Tahoma","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">3 December 2013</span></b></div>
</div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-748509251661052067.post-69023249285868779282012-12-10T02:36:00.001-08:002013-10-22T14:32:53.921-07:00IDIOT WINDS <div dir="ltr" style="text-align: left;" trbidi="on">
<a href="http://ezinearticles.com/" target="_new"><img alt="As Featured On EzineArticles" border="0" src="http://EzineArticles.com/featured/images/ea_featured_4.gif" /></a>
<br />
<div dir="ltr" style="text-align: left;" trbidi="on">
<b>Posted by</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1dn9d3DjRIPOW2o-kvOq7ae2ZhvMekJwpxkxueHWQKKkNgV5zIpN2vbDla_AzdC-CJdJlokhUM_1t-5UxhLWft7lWzVs-tgPHrKOxohIP0GpqMj8Ri4Ac-KmZCoyKkKb6GJEIP3K3a3c/s1600/Web+Photo+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="Director, Method Actors' Training Centre" border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1dn9d3DjRIPOW2o-kvOq7ae2ZhvMekJwpxkxueHWQKKkNgV5zIpN2vbDla_AzdC-CJdJlokhUM_1t-5UxhLWft7lWzVs-tgPHrKOxohIP0GpqMj8Ri4Ac-KmZCoyKkKb6GJEIP3K3a3c/s320/Web+Photo+2.jpg" title="Stephanie van Niekerk" width="320" /></a></div>
<br />
<div style="text-align: center;">
<b><a href="http://za.linkedin.com/pub/stephanie-van-niekerk/59/312/607" target="_blank">Stephanie van Niekerk</a>, Director </b><b><a href="http://www.methodacting.co.za/" target="_blank">Method Actors' Training Centre</a>.</b></div>
<br />
There are many myths, misconceptions and idiotic beliefs about <a href="http://methodacblog.blogspot.com/2012/10/the-madness-in-me-it-must-be-method.html" target="_blank">The Method</a>. This is to be expected, I guess, but what astounds me is that people who should know better than to talk about things they know nothing about, broadcast stupidities, based in their own ignorance and lack of research, as truths, to students who depend on them for knowledge and correct information. Self-respecting educators really need to do better than that.<br />
<br />
Method acting is a technique learned by serious actors to <b>support</b> them in what they do on stage or camera. It is not a "paint-by-numbers" technique to be sheepishly followed by those who are without talent, creativity and acting ability. Creating the character, telling the story, playing not only the scene but also the intent (of the character and the dramatist/script writer) is the actor's job and can certainly be done without using Method acting. Method actors are made aware of this fact over and over again while they train with me. What The Method helps them to do is to make what the character experiences<b> real</b>, <b>believable</b>, <b>truthful </b>and <b>honest</b>. We use the techniques to <b><a href="http://www.methodacting.co.za/ContactUs.htm" target="_blank">solve acting problems</a></b>. Method, therefore, provides the cherry on the cake!<br />
<br />
<div style="text-align: left;">
There are many methods of acting that are used by successful and competent actors and I encourage my students to use any methods of acting that will help them to do good work. I have yet, however, to discover any other technique that brings about the honest response and expression I require in a performance, which is why I believe in Method acting so passionately.</div>
<br />
<div style="text-align: center;">
<span style="background-color: #cccccc;"><span style="color: magenta;"><u><b>So ... let's have some fun</b></u><b>! </b></span></span></div>
<div style="text-align: center;">
<span style="background-color: #cccccc;"><span style="color: magenta;"><u><b>Let's look at some of the myths, misconceptions and stupidities </b></u></span></span></div>
<div style="text-align: center;">
<span style="background-color: #cccccc;"><span style="color: magenta;"><u><b>blown about by idiot winds!</b></u></span></span><br />
<span style="background-color: #cccccc;"><span style="color: magenta;"><u><b><br /></b></u></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://0.gvt0.com/vi/I4_1IZM_53A/0.jpg" height="266" width="320"><param name="movie" value="http://www.youtube.com/v/I4_1IZM_53A&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="http://www.youtube.com/v/I4_1IZM_53A&fs=1&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
<span style="background-color: #cccccc;"></span><br />
<h1 id="watch-headline-title" style="background-color: transparent; border: 0px; font-family: arial, sans-serif; font-size: 19px; margin: 0px; padding: 0px; text-align: center;">
<span style="background-color: #cccccc;"><span class=" yt-uix-expander-head" dir="ltr" style="-webkit-user-select: auto; background-color: transparent; border: 0px; cursor: auto; font-size: 19px; margin: 0px; padding: 0px;" title="Lee Strasberg talks about Marilyn Monroe">Lee Strasberg talks about Marilyn Monroe</span></span></h1>
</div>
<span style="background-color: white;"></span><span style="background-color: #cccccc;"><br /></span>
<span style="background-color: #cccccc;"><u><b><span style="color: magenta;">The Method is dangerous because it makes you crazy ... look at what happened to Marilyn Monroe!</span></b></u></span><br />
My question to the propagators of this ridiculous belief is ... what about all the other Method actors who are not "crazy"? <span style="color: magenta;">Al Pacino</span>, the late Paul Newman, Clare Danes and Helen Hunt all look quite sane to me. I have personally never experienced a single person "losing their mind" (permanently!) during my studies in New York or in my class ... not once in the past 32 years of my involvement with this technique. There are many people drawn to the arts who have psychological, emotional or substance abuse problems, of course, but they enter the process already somewhat off-balance. If you learn how to use the techniques correctly - even "traumatic" emotional memory work - the results with regard to your state of mind can only be positive.<br />
<br />
<span style="background-color: #cccccc;"><span style="color: magenta;"><u><b>The Method is only usable when playing serious, very emotional roles where you have to cry and scream</b></u>.</span></span><br />
Really? What about Gene Wilder's cooky movie characters? Dustin Hoffman in "Tootsie"? The different types created by Johnny Depp in countless brilliant performances? Throughout the years I've done comedies, stylized plays and Absurdist theatre as well as serious and Medieval drama, and my students have used Method Acting in all of these different genres very successfully to create characters an audience could believe in.<br />
<br />
<u><b><span style="background-color: #cccccc;"><span style="color: magenta;">The Method, as taught in school, can only be used when acting on stage. I want to act on camera!</span></span></b></u><br />
If that's the case I have no idea where all those successful, brilliant, famous film actors, who studied and use The Method when working, are coming from. A third force ... or perhaps the Hollywood Fairy? ... must be involved in some diabolical scheme!<br />
<br />
<b><u><span style="background-color: #cccccc;"><span style="color: magenta;">Method actors are difficult to work with ... and they always want a <i>motivation</i> for everything they're required to do. </span></span></u></b><br />
I guess some actors are difficult to work with, no matter what their "method" may be. I personally find actors who pretend, indicate, fake it, come to rehearsal unprepared, arrive late, behave like prima donnas and get jealous of fellow actors difficult to work with. The actors I train are expected to behave like professionals. They are taught to respect the director and do what's expected of them. They're supposed to take their work seriously and do their best at all times. Method actors who have trained with me for four years know how I expect them to behave - whether they do what I require or not - and if they behave unprofessionally it is not The Method's fault but their own.<br />
<br />
Yes, a major part of how we work requires finding a motivation for each action the character executes, otherwise the action will be empty and without intent or purpose. It will not be motivated and justified, leading to a dishonest performance. My actors are taught to find these motivations for themselves and not to bug the director with it. It is the actor's responsibility.<br />
<br />
I believe that partially trained actors who don't understand how the work is to be used, are the culprits here. I personally do not regard anyone who has studied for less than four years as a Method actor. Actors who have been partially trained can, in fact, give The Method a bad name in the industry because they are bound to suffer from bad working practice, misconceptions and ignorance as far as correct application of the work is concerned.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ8QMfPBL2Zx2g2TFnjzNQlFtPqiFaACFtTL3_CiPwR5SKcdmtcvhjZRs-hheR7iYXuR6W1QV9OYfEffd-9mzlZsTNcsq0PK1oiSd_yvHya1dQsz6pKEIC7dn57_qTNPv7wc4pSte4HPw/s1600/online_add_Method_Actors_Training-_Centre_Pretoria.png" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ8QMfPBL2Zx2g2TFnjzNQlFtPqiFaACFtTL3_CiPwR5SKcdmtcvhjZRs-hheR7iYXuR6W1QV9OYfEffd-9mzlZsTNcsq0PK1oiSd_yvHya1dQsz6pKEIC7dn57_qTNPv7wc4pSte4HPw/s200/online_add_Method_Actors_Training-_Centre_Pretoria.png" width="141" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">visit the website now for more details:<br />
<a href="http://www.methodacting.co.za/" target="_blank">www.methodacting.co.za </a></td></tr>
</tbody></table>
<h4>
<u><span lang="EN-US">A QUESTIONAIRE RE: THE METHOD AS ANSWERED BY STEPHANIE VAN
NIEKERK</span></u><span lang="EN-US" style="font-weight: normal; text-decoration: none; text-underline: none;"></span></h4>
<div class="MsoNormal">
<span lang="EN-US">(including some myths, misconceptions and idiotic beliefs!) </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">WHERE
DID YOU STUDY</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">I completed a B.A. Drama degree at the
University of Pretoria in 1976 and then spent 1980 to 1984 at the Lee Strasberg
Theatre Institute in New York. While there, I was invited to become a member of
the Second Studio for Actors under the direction of Harv Dean. I also studied
Philosophy and English Literature through UNISA, became a certified Shiatsu
Therapist and received a Diploma in Holistic Psychology from the Natural Health
Institute during the nine years I lived in Toronto, Canada.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">WHY
DID YOU DECIDE TO STUDY METHOD ACTING IN NEW YORK</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">I arrived in Toronto in 1977, without
working papers. By the time I received permanent residence and the right to
work, I had not acted for a number of years. I decided that I needed a
“refresher course”, went for interviews to a number of schools in New York
(Stella Adler, Herbert Berghoff etc.), but decided on the Lee Strasberg Theatre
Institute’s summer course (four months) because his name was the best known and
therefore familiar to me. Watching the students work at my first class, I
realized that this was what I’d been praying for all my life … and that I was
starting over after twenty years as an actor (I had started working professionally
as a child of eight). It was also clear to me that nothing I had learnt up to
that time was really applicable to the Method way of working. I immediately
recognized that the Method would give me the means by which I could discover
and express the inner depth I always knew I had, but could never tap or reveal
as an actress, that I would never have to push or “act” or fake it ever again!
Since it doesn’t take four months to develop the necessary skills, I ended up
staying for four years.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">WHAT
WAS YOUR EXPERIENCE STUDYING IN NEW YORK COMPARED TO SOUTH AFRICA</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US"><span style="text-decoration: none;"></span></span></u></b><span lang="EN-US">My New York experience meant FREEDOM,
letting go of old beliefs and judgements and ways of looking at myself and
acting and the world. It was a time of self-discovery, growth, change and
spiritual evolvement. I also met and befriended not only Americans and
Canadians, but people from Spain, Portugal, Italy, France, Holland, Germany,
England, Ireland, Russia, Central and South America and learnt from and about
them and their realities. The world became my oyster! </span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">HOW
DID THE TEACHING METHODS DIFFER BETWEEN THE STRASBERG INSTITUTE AND THE
TRAINING YOU RECEIVED IN SOUTH AFRICA</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">The main difference between Strasberg and the University of Pretoria, as well as private teachers in S.A., was that the Method teaches you very
<b style="mso-bidi-font-weight: normal;">specific</b> techniques to help you to
overcome acting problems. You may use them however you see fit once you’ve
learnt how and once your instrument has been trained to respond to sensory
recall. Once you know how to use the Method, you have absolute freedom as an
actor to make your own choices re: what exercises/techniques to use, how to
work, which different philosophies or ways of working you combine to get the
results of truth and honesty and reality in your work. Being a Method actor
does not mean painting by numbers – it is not a mechanical, robotic repeat of
learnt exercises. Yet, once I’d been studying the Method techniques for a
period of time, I realized how well it worked for me, how safe and real I felt
when working on stage because I was concentrating on <b style="mso-bidi-font-weight: normal;">WORK</b> all the time, I did not want to go back to acting
mechanically, flying by the seat of my pants and hoping for inspiration to hit!
</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">I learned many things, both theoretical and
practical, at the University of Pretoria, for which I will always be grateful. Certain stage
techniques and the experience I’d gained during my three years there are still
invaluable. Yet … I was not taught <b style="mso-bidi-font-weight: normal;">how
to</b> <b style="mso-bidi-font-weight: normal;">act</b>. The varied exercises
(Stanislavsky techniques and others) we worked with in class were diffused,
generalized – definitely not a SYSTEM or way of working that had clear goals or
results. They were not, in my experience, applicable to the very specific craft
of building a real character and doing believable work. As important as stage
techniques, games and improvs are to bring about technically professional
performances, open up the actor’s instrument and lead her to creativity and
discovery, as a training tool they only go so far. Substance and depth is
needed to train an actor to do meaningful work. It takes four years to train a
Method actor and I do not regard anyone who has spent less time on their Method
studies as such.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">DID
YOU STUDY WITH ANY MEMORABLE TEACHERS OR DIRECTORS</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">I had tremendous respect for the teachers
at Strasberg that I finally chose to work with: Irma Sandrey, Hope Arthur and
Harv Dean. Strasberg himself died before I was advanced enough to be considered
for his Master Classes. In South Africa I learnt a lot from Carel Trichardt and
the late Fred Steyn. I love and respect them all to this day.</span>
</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US"><span style="text-decoration: none;"><br /></span></span></u></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">WHAT
IS TALENT</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">I can only tell you what I think it is…
Mainly sensitivity, intelligence, strong analytical abilities, awareness, the
ability to communicate, insight, good concentration, strong will and
perseverance. The Method can make believable, strong, creative actors out of
those who possess these qualities and are willing to do the work. The really
wonderful actors, those who knock your socks off, have a few extras – charm,
charisma, self-confidence, a gut recognition and faith in what feels right –
and a little thing called “magic”, which is indefinable!</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">WHAT
ADVICE WOULD YOU GIVE TO THOSE STARTING OUT IN ACTING</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US"> </span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">STUDY
!!<span style="mso-spacerun: yes;"> </span></span></b><span lang="EN-US">Learn
your craft from proven, good teachers. Build your skills – how to speak, move,
experience, express, create, communicate and behave effectively and truthfully
and never stop honing those skills. Get to know yourself and your instrument,
because that is what you use to do your work. Travel. Read widely and as much
as you possibly can. Learn to appreciate ALL the arts. Study psychology – the
human being – and the philosophies of the world. Work to gain maturity,
self-knowledge, empathy, humility and self-esteem because, in this industry,
you’re going to need it ! </span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Be very clear on what type of actor you
want to be, and when you go out there to look for work – don’t give up! Have
faith in yourself and your skills and the knowledge you’ve gained. I also
believe that one shouldn’t wait for others to employ you – not the way things
are in S.A. today re: the industry. Get together with others, write and create
original work and perform where-ever and whenever you can. WORK – even if there
seems not to be a place for you in existing structures at this time.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">WHAT
ARE THE MAIN OBSTACLES YOU COME UP AGAINST IN TEACHING ACTORS</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">The main obstacles I come up against are blocks
in the instrument – psychological, spiritual and physical. Also fear and
resistance to self-knowledge and looking ridiculous, fear of exploration and
discovery, suppressed emotional issues - South African society is restricted,
angry, has difficulty trusting and opening up - laziness and wanting things to
just happen without working for it, and let’s not forget about ignorance and stupidity
…</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Due to the school system being what it is,
students also wish to be spoon-fed. They need to be convinced to accept the
fact that they make choices every moment of the day and that they are
responsible for how their lives turn out as a result of those choices. Many young
people look for excuses and wish to make others “wrong” and/or responsible for
the fact that they, themselves, are not <span style="mso-spacerun: yes;"> </span>in
control of their lives / work / studies. As a result, irresponsible behavior,
laziness (again!) and lack of willpower become obstacles in getting results.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Since 1994 one of the greatest problems I
face is the incredibly low level of education in South Africa. Vast numbers of
students who have passed Grade 12 are in fact functionally illiterate. They can
hardly read and their vocabulary, spelling, grammar and analytical abilities
are practically non-existent. For the past <span style="mso-spacerun: yes;"> </span>6 years I’ve had to test these abilities
before making <span style="mso-spacerun: yes;"> </span>a decision whether to
accept a student into the school. Many with Grade 12 operate on anything
between Grade 5 and Grade 8 when it comes to world standards. A number of my
students need to take remedial classes in language, reading and comprehension
in order to be able to do my course. The education system in this country has
failed these young people. It’s a disgrace!</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">DO
YOUR STUDENTS STUDY ANY LITERATURE APART FROM THE PLAYS THEY REHEARSE</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">Absolutely!! They have to read the following
books: <b style="mso-bidi-font-weight: normal;">An Actor Prepares</b> and <b style="mso-bidi-font-weight: normal;">Building a Character</b> by Stanislavsky, <b style="mso-bidi-font-weight: normal;">On Method Acting</b> by Edward Dwight
Easty, <b style="mso-bidi-font-weight: normal;">Method – Or Madness? </b>by
Robert Lewis, <b style="mso-bidi-font-weight: normal;">A Dream of</b> <b style="mso-bidi-font-weight: normal;">Passion</b> by Lee Strasberg, <b style="mso-bidi-font-weight: normal;">Do’s and Don’t’s of Drama</b> by Jean Lee
Latham, <b style="mso-bidi-font-weight: normal;">The Empty Space</b> by Peter
Brook and <b style="mso-bidi-font-weight: normal;">Freeing the</b> <b style="mso-bidi-font-weight: normal;">Natural Voice</b> by Kristin Linklater. The
student needs to pass three written assignments every year. </span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">We also do three different in-depth text
analysis workshops each year for which they have to do research on the
dramatist, his/her body of work and the particular play in question, including
one Absurd Drama as well as Absurdist principles. I expect of them to attend
classes with an expert on each text analysis assignment for approximately two
months before the exam in order that they may pass. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">The students put together
their own Prose and Poetry Programs and I also expect of them to do extensive
research re: the dramatists and plays they do scenes from in class. They are
encouraged to read widely and often. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background-color: #cccccc;"><span style="color: magenta;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">WHY DO
YOU THINK METHOD ACTORS HAVE TROUBLE DOING SITCOMS</span></u><span lang="EN-US">?</span></b></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">Never having done a sitcom myself, I can
only guess … Fortunately sitcoms are basically superficial, silly and geared towards
mass consumption. Audiences do not wish to either think or feel deeply when
tuning in and will happily accept atrocious acting ... in fact, they expect it!</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">I’d imagine that inexperienced,
half-trained actors (those who did not complete their studies) who need more time
to prepare would find the “sausage machine” process of quickly doing a run to
basically sort out technical stuff and then shooting the scene, unnerving to
deal with if they are faced with acting problems to be solved – it depends on
how the process is run and how much rehearsal time is allowed on any given set.
I expect that experienced Method actors (like Al Pacino and Helen Hunt and
those who are properly trained) can get work to solve any problems they may
experience within seconds, and that the system would therefore not cause them
any difficulties at all. You have to understand that longstanding, experienced
Method actors have instruments that are well trained, primed and ready to work.
They also are very sure of what the different techniques can give them and they
can work VERY FAST, needing <b style="mso-bidi-font-weight: normal;">seconds</b>
to incorporate a choice into their acting. Method helps to solve acting
problems and make you believable so the audience can relate – that’s what it’s
there for, to help. And it does!</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Unfortunately, many of my students who were
close to brilliant at the end of their fourth year of study, simply stop doing “the
work” when they are cast with non-Method actors. I suppose they feel different
and therefore embarrassed to do the work in front of actors who have no idea
what they are doing. Maybe they fear being laughed at or excluded or regarded as elitist or ridiculous. I don't know. So they gossip and flirt and chew the fat and play silly buggers with their pals
while waiting to do a scene rather than doing what they are getting paid to do –
the work! As a result they become just as bad as they were in their first year
very quickly – indicating, play-acting, faking emotion and response. This
saddens me deeply.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Trained Method actors don’t have to make an
exhibition of preparing their work while other actors look on. Due to the fact
that their instruments are in perfect working order after many years of
training, they simply need to separate themselves from the group and quietly focus
on their chosen sensory work in a relaxed way, stay concentrated while keeping
the preparation going and strengthen it when the cameras are rolling. Nobody
will think anything other than that they are shy or snotty or like their own
company! And as for that … who cares?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">CAN
YOU DEFINE “EMOTIONAL MEMORY”?</span></u></b></div>
<div class="MsoNormal">
<span lang="EN-US">Yes, I can. </span><span lang="EN-US">Emotional or Affective Memory is the
conscious creation of sensory aspects in / of a <b style="mso-bidi-font-weight: normal;">remembered</b> situation / emotion which has occurred in the actor’s
own past life through experiencing the sight, sound, touch, taste and smell
related to that situation / emotion and the application of the response to the
character being portrayed on the stage. </span>
</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US"><span style="text-decoration: none;"><br /></span></span></u></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">HOW
DOES AN ACTOR PREPARE FOR AN EMOTIONAL MEMORY EXERCISE</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">By doing a full relaxation the Method way
to focus concentration and release excess tension from the instrument. More
ordinary situations from their own lives are, of course, not a problem, but I
do not allow my students to practice emotional memories that are traumatic or
may have deep psychological impact, by themselves at home. Whether they do the
memory in class with my assistance or in class by themselves, deeply emotional
work is only done when I am present to guide, assist and help them towards full
expression and to deal with any blocks that may come up to prevent expression.
Traumatic situations have to be seven years old before attempting to make use of
them as emotional memories.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background-color: #cccccc;"><span style="color: magenta;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">DO
THE ACTORS USE REAL, HONEST EMOTION OR REMEMBERED EMOTION</span></u><span lang="EN-US">?</span></b></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"></span><span lang="EN-US">Remembered emotion is not real or honest?
An emotion that happens spontaneously, unexpectedly and in the moment can
easily cause problems during performance. One never knows what may follow as a
result and the actor may not be able to maintain or repeat or control such an
emotion. <b style="mso-bidi-font-weight: normal;">Remembered emotion</b> comes
from a situation that has happened before, and can therefore be recreated with
sense memory and repeated and controlled at will by the actor when necessary
for a specific response, as needed by the character being portrayed. This,
however, does not mean that the emotion is fake or dishonest. Method actors do
not only deal in <b style="mso-bidi-font-weight: normal;">emotion</b> – they deal
in real <b style="mso-bidi-font-weight: normal;">response </b>as the character
within a specific situation. Actors are not required to have big emotions
throughout every performance but the response (even to small things like having
a chat with your mom while preparing dinner) must be real.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background-color: #cccccc;"><span style="color: magenta;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">DO
YOU KNOW OF ANYONE WHO BECAME INSANE BECAUSE OF THE METHOD</span></u><span lang="EN-US">?</span></b></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"></span><span lang="EN-US">Personally? No. I’ve never heard of such a
thing either. If remembering aspects of your past caused people to go insane
there wouldn’t be a single sane person on this planet. If a person is seriously
off-balance, psychologically, or if they have drug and / or alcohol problems,
personality disturbances etc. etc., anything could push them over the edge.
They’ll probably, in fact, have the odd breakdown in varying degrees of
seriousness a number of times in their lives. The Method does not CAUSE mental
or emotional disturbance. I believe it helps people to deal with unhappy experiences. In my experience, working with the Method brings
about higher levels of maturity, insight, self-knowledge, understanding of the
self and others, empathy, spiritual depth and wisdom in my students. I see incredible
personal growth and positive changes within the first year and it only becomes
more apparent in those who choose to stay four years to complete the course.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background-color: #cccccc;"><span style="color: magenta;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">I
KNOW THAT USING THE METHOD PLACES A LOT OF EMOTIONAL STRESS ON THE ACTORS. WHAT
DO YOU DO TO HELP THEM OVERCOME IT</span></u><span lang="EN-US">?</span></b></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"></span><span lang="EN-US">This is totally untrue. I disagree most
strongly that the Method as such places emotional stress on actors. They stress
less during performance if they focus on doing the work, which makes them feel
safe and in control. Even if they have to create highly emotional work for a
scene or throughout a play or film, they know exactly what to do the moment the
cameras stop rolling or the curtain comes down. They physically and emotionally
release the work by doing relaxation, shaking out, making sound and <span style="mso-spacerun: yes;"> </span>thus “coming back to reality”. When they walk
out of the theatre or studio they leave the work behind totally until they have
to get it back again for the next show or shoot. This is much better than being
a mechanical actor who believes he has to walk cripple for three months or take
the character with him wherever he goes, for fear of “losing” the character, even
when not performing, don’t you think? Method actors drop the work and pick it
back up as and when they need it and live their ordinary, normal lives when not
performing. Much less stressful!</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">I’ve certainly never experienced emotional
stress as a result of the work itself during the four years I studied at
Strasberg. I’m aware of the fact that my actors experience stress, but it comes
from their own life-issues – break-ups with lovers, work problems, self-esteem
issues, bad relationships with people in their lives, fears, angers, blocked
feelings, resistance, unresolved emotional baggage. So … they may get tense or
scared about doing certain exercises due to their own personal challenges. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">If that is the case and I become aware of
the fear / resistance, I encourage them to really focus on relaxation to let go
of all excess tension in the instrument. I encourage them to let their personal
issues go, through a little exercise where they put these things aside until
they can deal with them later. I help them to focus the concentration and the
will. If the problems persist, I discuss their issues with them, as it relates
to the work, and give advice, guidance and support on how they can let it go. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">I get very fond of my students and I treat
them with loving affection as often as I give them heck! I frequently suggest
that students see a health professional or psychologist if their health or
personal problems seem serious, and cannot be overcome by the above methods. I
do, however, try not to get personally involved with their lives and issues if
same does not get in the way of the work. It’s none of my business!!</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">WHAT
IS THE PURPOSE OF “SONG AND DANCE”? HAS IT ANYTHING TO DO WITH TRAINING THE
“WILL” OF THE ACTOR</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"></span><span lang="EN-US">The exercise addresses several aspects re:
the opening up of the actor’s instrument. Awareness and control of emotion and
expression, development of spontaneous response, elimination of involuntary
nervous expression, the breaking of verbal and physical movement habits as well
as other habitual responses, open communication with an audience, development
of concentration, immediate response to direction, awareness of tempo-rhythms
and the ability to respond to same, and control of the instrument. </span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Yes! The actor’s “will” is of the utmost
importance here in doing something that is actually very simple but at the same
time extremely difficult to do, because it goes against the grain of his
training and his usual habitual responses.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background-color: #cccccc;"><span style="color: magenta;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">WHEN
YOU SAY TO THE ACTOR: “TAKE A MINUTE”, WHAT DO YOU MEAN</span></u><span lang="EN-US">?</span></b></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">Do a little relaxation, focus the
concentration, center yourself, prepare.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background-color: #cccccc;"><span style="color: magenta;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">…
AND DON’T YOU THINK THAT ONE MINUTE IS ACTUALLY RATHER A LONG TIME ON STAGE</span></u><span lang="EN-US">?</span></b></span></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US"><span style="text-decoration: none;"></span></span></u></b><span lang="EN-US">It’s a lifetime! Method actors do not,
however, “take a minute” or “speak out” or do a full relaxation with movement
and sound and opening up while on stage or make the audience wait while they
get their sense memory, during performance! They do so <b style="mso-bidi-font-weight: normal;">before </b>performing and in the training situation to teach the
instrument to become aware of and control tension / lack of concentration / indicating
and let it go unobserved, while working. The training process takes time, but
once the instrument is primed to do the work, difficulties while working can be
dealt with, without “taking a minute” during performance. That is why it takes
several years to train a Method actor fully. Once s/he starts working
professionally, “taking a minute” is only required before performing but
totally unnecessary and not desired during in performance.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">HOW
LONG DO YOU THINK A STUDENT HAS TO STUDY TO BE READY FOR PROFESSIONAL ACTING</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"></span><span lang="EN-US">This depends on the individual. There are
film actors who started as children without any training at all, like Jodie
Foster and Leonardo Di Caprio, who are both very good. But then, film acting is
different to stage acting because you have all the “takes” you need to get the
moment and then you can “edit” a good performance together from whatever the
actor managed to give you. Depending on how fast the given person works, I
regard my students as ready to start doing auditions after three to five years
of part-time training – depending on the actor’s instrument and understanding.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background-color: #cccccc;"><span style="color: magenta;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">HOW
DO YOU FEEL ABOUT DON RICHARDSON, WHO IS AGAINST THE METHOD, SAYING: “ART IS A
REFLECTION OF REALITY, NOT REALITY ITSELF.”</span></u></b></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"></span><span lang="EN-US">I agree with him.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background-color: #cccccc;"><span style="color: magenta;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">IS
IT TRUE THAT METHOD ACTORS ALWAYS PLAY VERSIONS OF THEMSELVES AND FORGET THE
AUTHOR’S CONCEPT OF THE CHARACTER</span></u><span lang="EN-US">?</span></b></span></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US"><span style="text-decoration: none;"></span></span></u></b><span lang="EN-US">Balderdash! This is an utter fallacy. Some actors
who don’t know what they’re doing <span style="mso-spacerun: yes;"> </span>because they haven’t studied long enough and /
or are there only to show how well they can emote or get into the “look at me,
ain’t I good” thing, may be guilty of this. But you find actors of every type
and stripe who don’t know what they’re doing and act only to be in the spotlight.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">The good, well-trained Method actor knows
that you have to play the author. Everything he does – text analysis; character
analysis; research; answering questions re: intent, obstacle, Who, What, Where,
When, Why, the magic IF, motivation, justification, What do I want?, What do I
do to get what I want?, What is the most important thing that must be created
in this scene?; choosing his Method work to make the character real and
believable – EVERYTHING is about creating the character the author intended him
to play – allowing, of course, for the fact that interpretations may differ. My
students know that I will never tolerate an actor who uses the work as therapy,
or for self-aggrandizement, emotional masturbation or “getting away with it”.
It should be every actor’s honor to do his job right, and his job is to play
the author. Anyway, who are you going to use if not yourself? The girl next
door?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background-color: #cccccc;"><span style="color: magenta;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">IS
METHOD DEATH TO COMEDY</span></u><span lang="EN-US">?</span></b></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"></span><span lang="EN-US">Gene Wilder and Peter Boyle in “Young Frankenstein”, Robert de Niro in “Analyze This!”,
Marilyn Monroe in “The Prince and the Showgirl”, Angelina Jolie in “Pushing
Tin” - there are so many examples of Method actors who do wonderful comedy
work. </span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">The more real and believable when the
pigeon drops one on your head, the more the average moviegoer can relate and
see himself (or his neighbor) in you, the funnier you are. The more you
indicate, anticipate and comment, the more of a trial to those who have to sit
through it.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">DO
YOUR STUDENTS DO TRUST EXERCISES</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"></span><span lang="EN-US">In Group Theatre classes, yes. Not in
Method. The work the Method actors do with substitution, for instance, gives
them relationship, even if they don’t know and trust their acting partner(s).
You can substitute anyone and anything and be comfortable within that situation.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">DO
YOUR STUDENTS DO IMPROVISATIONAL WORK</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"></span><span lang="EN-US">Absolutely. Improvisation is an integral
part of the Method. I do improvisations with my Group Theatre students and
expect all my Method students to use improvisations whenever they prepare
scenes for class or when we work on a show. When we do a workshop production
based on improvisation we start from scratch with only an idea at the beginning
of the process and go on stage with a fifty-minute to one-hour play by the end
of it.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">There’s a lot of resistance and negativity out
there re: the subject I teach. People in the industry have read a book or two
and / or worked with someone whom they dislike who calls him or herself a
Method actor, and they form all kinds of judgements and beliefs regarding this
way of working, while being totally ignorant of what it entails. Feeling
ignorant and therefore threatened by something<span style="mso-spacerun: yes;">
</span>you don’t understand causes fear, resentment and resistance. <span style="mso-spacerun: yes;"> </span>You cannot learn about the Method from a
book!<span style="mso-spacerun: yes;"> </span>You need to experience it over the
period of at least one year in order to be able to form an opinion. One cannot
talk about something you know nothing about! If a person in this country has
not studied with me or at one of the Method schools in the United States for
long enough to know what s/he is doing (between three and five years), s/he is
not a Method actor. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Older posts by Stephanie van Niekerk:<br />
<br />
<a href="http://methodacblog.blogspot.com/2012/12/it-aint-easy.html" target="_blank">It ain't easy.</a> </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br /></div>
</div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-748509251661052067.post-22338132374159889692012-12-10T02:36:00.000-08:002013-01-27T07:38:04.651-08:00IDIOT WINDS <div dir="ltr" style="text-align: left;" trbidi="on">
<a href="http://ezinearticles.com/" target="_new"><img alt="As Featured On EzineArticles" border="0" src="http://EzineArticles.com/featured/images/ea_featured_4.gif" /></a>
<br />
<div dir="ltr" style="text-align: left;" trbidi="on">
<b>Posted by</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1dn9d3DjRIPOW2o-kvOq7ae2ZhvMekJwpxkxueHWQKKkNgV5zIpN2vbDla_AzdC-CJdJlokhUM_1t-5UxhLWft7lWzVs-tgPHrKOxohIP0GpqMj8Ri4Ac-KmZCoyKkKb6GJEIP3K3a3c/s1600/Web+Photo+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="Director, Method Actors' Training Centre" border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1dn9d3DjRIPOW2o-kvOq7ae2ZhvMekJwpxkxueHWQKKkNgV5zIpN2vbDla_AzdC-CJdJlokhUM_1t-5UxhLWft7lWzVs-tgPHrKOxohIP0GpqMj8Ri4Ac-KmZCoyKkKb6GJEIP3K3a3c/s320/Web+Photo+2.jpg" title="Stephanie van Niekerk" width="320" /></a></div>
<br />
<div style="text-align: center;">
<b><a href="http://za.linkedin.com/pub/stephanie-van-niekerk/59/312/607" target="_blank">Stephanie van Niekerk</a>, Director </b><b><a href="http://www.methodacting.co.za/" target="_blank">Method Actors' Training Centre</a>.</b></div>
<br />
There are many myths, misconceptions and idiotic beliefs about <a href="http://methodacblog.blogspot.com/2012/10/the-madness-in-me-it-must-be-method.html" target="_blank">The Method</a>. This is to be expected, I guess, but what astounds me is that people who should know better than to talk about things they know nothing about, broadcast stupidities, based in their own ignorance and lack of research, as truths, to students who depend on them for knowledge and correct information. Self-respecting educators really need to do better than that.<br />
<br />
Method acting is a technique learned by serious actors to <b>support</b> them in what they do on stage or camera. It is not a "paint-by-numbers" technique to be sheepishly followed by those who are without talent, creativity and acting ability. Creating the character, telling the story, playing not only the scene but also the intent (of the character and the dramatist/script writer) is the actor's job and can certainly be done without using Method acting. Method actors are made aware of this fact over and over again while they train with me. What The Method helps them to do is to make what the character experiences<b> real</b>, <b>believable</b>, <b>truthful </b>and <b>honest</b>. We use the techniques to <b><a href="http://www.methodacting.co.za/ContactUs.htm" target="_blank">solve acting problems</a></b>. Method, therefore, provides the cherry on the cake!<br />
<br />
<div style="text-align: left;">
There are many methods of acting that are used by successful and competent actors and I encourage my students to use any methods of acting that will help them to do good work. I have yet, however, to discover any other technique that brings about the honest response and expression I require in a performance, which is why I believe in Method acting so passionately.</div>
<br />
<div style="text-align: center;">
<span style="background-color: #cccccc;"><span style="color: magenta;"><u><b>So ... let's have some fun</b></u><b>! </b></span></span></div>
<div style="text-align: center;">
<span style="background-color: #cccccc;"><span style="color: magenta;"><u><b>Let's look at some of the myths, misconceptions and stupidities </b></u></span></span></div>
<div style="text-align: center;">
<span style="background-color: #cccccc;"><span style="color: magenta;"><u><b>blown about by idiot winds!</b></u></span></span><br />
<span style="background-color: #cccccc;"><span style="color: magenta;"><u><b><br /></b></u></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://0.gvt0.com/vi/I4_1IZM_53A/0.jpg" height="266" width="320"><param name="movie" value="http://www.youtube.com/v/I4_1IZM_53A&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="http://www.youtube.com/v/I4_1IZM_53A&fs=1&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
<span style="background-color: #cccccc;"></span><br />
<h1 id="watch-headline-title" style="background-color: transparent; border: 0px; font-family: arial, sans-serif; font-size: 19px; margin: 0px; padding: 0px; text-align: center;">
<span style="background-color: #cccccc;"><span class=" yt-uix-expander-head" dir="ltr" style="-webkit-user-select: auto; background-color: transparent; border: 0px; cursor: auto; font-size: 19px; margin: 0px; padding: 0px;" title="Lee Strasberg talks about Marilyn Monroe">Lee Strasberg talks about Marilyn Monroe</span></span></h1>
</div>
<span style="background-color: white;"></span><span style="background-color: #cccccc;"><br /></span>
<span style="background-color: #cccccc;"><u><b><span style="color: magenta;">The Method is dangerous because it makes you crazy ... look at what happened to Marilyn Monroe!</span></b></u></span><br />
My question to the propagators of this ridiculous belief is ... what about all the other Method actors who are not "crazy"? <span style="color: magenta;">Al Pacino</span>, the late Paul Newman, Clare Danes and Helen Hunt all look quite sane to me. I have personally never experienced a single person "losing their mind" (permanently!) during my studies in New York or in my class ... not once in the past 32 years of my involvement with this technique. There are many people drawn to the arts who have psychological, emotional or substance abuse problems, of course, but they enter the process already somewhat off-balance. If you learn how to use the techniques correctly - even "traumatic" emotional memory work - the results with regard to your state of mind can only be positive.<br />
<br />
<span style="background-color: #cccccc;"><span style="color: magenta;"><u><b>The Method is only usable when playing serious, very emotional roles where you have to cry and scream</b></u>.</span></span><br />
Really? What about Gene Wilder's cooky movie characters? Dustin Hoffman in "Tootsie"? The different types created by Johnny Depp in countless brilliant performances? Throughout the years I've done comedies, stylized plays and Absurdist theatre as well as serious and Medieval drama, and my students have used Method Acting in all of these different genres very successfully to create characters an audience could believe in.<br />
<br />
<u><b><span style="background-color: #cccccc;"><span style="color: magenta;">The Method, as taught in school, can only be used when acting on stage. I want to act on camera!</span></span></b></u><br />
If that's the case I have no idea where all those successful, brilliant, famous film actors, who studied and use The Method when working, are coming from. A third force ... or perhaps the Hollywood Fairy? ... must be involved in some diabolical scheme!<br />
<br />
<b><u><span style="background-color: #cccccc;"><span style="color: magenta;">Method actors are difficult to work with ... and they always want a <i>motivation</i> for everything they're required to do. </span></span></u></b><br />
I guess some actors are difficult to work with, no matter what their "method" may be. I personally find actors who pretend, indicate, fake it, come to rehearsal unprepared, arrive late, behave like prima donnas and get jealous of fellow actors difficult to work with. The actors I train are expected to behave like professionals. They are taught to respect the director and do what's expected of them. They're supposed to take their work seriously and do their best at all times. Method actors who have trained with me for four years know how I expect them to behave - whether they do what I require or not - and if they behave unprofessionally it is not The Method's fault but their own.<br />
<br />
Yes, a major part of how we work requires finding a motivation for each action the character executes, otherwise the action will be empty and without intent or purpose. It will not be motivated and justified, leading to a dishonest performance. My actors are taught to find these motivations for themselves and not to bug the director with it. It is the actor's responsibility.<br />
<br />
I believe that partially trained actors who don't understand how the work is to be used, are the culprits here. I personally do not regard anyone who has studied for less than four years as a Method actor. Actors who have been partially trained can, in fact, give The Method a bad name in the industry because they are bound to suffer from bad working practice, misconceptions and ignorance as far as correct application of the work is concerned.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ8QMfPBL2Zx2g2TFnjzNQlFtPqiFaACFtTL3_CiPwR5SKcdmtcvhjZRs-hheR7iYXuR6W1QV9OYfEffd-9mzlZsTNcsq0PK1oiSd_yvHya1dQsz6pKEIC7dn57_qTNPv7wc4pSte4HPw/s1600/online_add_Method_Actors_Training-_Centre_Pretoria.png" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ8QMfPBL2Zx2g2TFnjzNQlFtPqiFaACFtTL3_CiPwR5SKcdmtcvhjZRs-hheR7iYXuR6W1QV9OYfEffd-9mzlZsTNcsq0PK1oiSd_yvHya1dQsz6pKEIC7dn57_qTNPv7wc4pSte4HPw/s200/online_add_Method_Actors_Training-_Centre_Pretoria.png" width="141" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">visit the website now for more details:<br />
<a href="http://www.methodacting.co.za/" target="_blank">www.methodacting.co.za </a></td></tr>
</tbody></table>
<h4>
<u><span lang="EN-US">A QUESTIONAIRE RE: THE METHOD AS ANSWERED BY STEPHANIE VAN
NIEKERK</span></u><span lang="EN-US" style="font-weight: normal; text-decoration: none; text-underline: none;"></span></h4>
<div class="MsoNormal">
<span lang="EN-US">(including some myths, misconceptions and idiotic beliefs!) </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">WHERE
DID YOU STUDY</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">I completed a B.A. Drama degree at the
University of Pretoria in 1976 and then spent 1980 to 1984 at the Lee Strasberg
Theatre Institute in New York. While there, I was invited to become a member of
the Second Studio for Actors under the direction of Harv Dean. I also studied
Philosophy and English Literature through UNISA, became a certified Shiatsu
Therapist and received a Diploma in Holistic Psychology from the Natural Health
Institute during the nine years I lived in Toronto, Canada.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">WHY
DID YOU DECIDE TO STUDY METHOD ACTING IN NEW YORK</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">I arrived in Toronto in 1977, without
working papers. By the time I received permanent residence and the right to
work, I had not acted for a number of years. I decided that I needed a
“refresher course”, went for interviews to a number of schools in New York
(Stella Adler, Herbert Berghoff etc.), but decided on the Lee Strasberg Theatre
Institute’s summer course (four months) because his name was the best known and
therefore familiar to me. Watching the students work at my first class, I
realized that this was what I’d been praying for all my life … and that I was
starting over after twenty years as an actor (I had started working professionally
as a child of eight). It was also clear to me that nothing I had learnt up to
that time was really applicable to the Method way of working. I immediately
recognized that the Method would give me the means by which I could discover
and express the inner depth I always knew I had, but could never tap or reveal
as an actress, that I would never have to push or “act” or fake it ever again!
Since it doesn’t take four months to develop the necessary skills, I ended up
staying for four years.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">WHAT
WAS YOUR EXPERIENCE STUDYING IN NEW YORK COMPARED TO SOUTH AFRICA</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US"><span style="text-decoration: none;"></span></span></u></b><span lang="EN-US">My New York experience meant FREEDOM,
letting go of old beliefs and judgements and ways of looking at myself and
acting and the world. It was a time of self-discovery, growth, change and
spiritual evolvement. I also met and befriended not only Americans and
Canadians, but people from Spain, Portugal, Italy, France, Holland, Germany,
England, Ireland, Russia, Central and South America and learnt from and about
them and their realities. The world became my oyster! </span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">HOW
DID THE TEACHING METHODS DIFFER BETWEEN THE STRASBERG INSTITUTE AND THE
TRAINING YOU RECEIVED IN SOUTH AFRICA</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">The main difference between Strasberg and the University of Pretoria, as well as private teachers in S.A., was that the Method teaches you very
<b style="mso-bidi-font-weight: normal;">specific</b> techniques to help you to
overcome acting problems. You may use them however you see fit once you’ve
learnt how and once your instrument has been trained to respond to sensory
recall. Once you know how to use the Method, you have absolute freedom as an
actor to make your own choices re: what exercises/techniques to use, how to
work, which different philosophies or ways of working you combine to get the
results of truth and honesty and reality in your work. Being a Method actor
does not mean painting by numbers – it is not a mechanical, robotic repeat of
learnt exercises. Yet, once I’d been studying the Method techniques for a
period of time, I realized how well it worked for me, how safe and real I felt
when working on stage because I was concentrating on <b style="mso-bidi-font-weight: normal;">WORK</b> all the time, I did not want to go back to acting
mechanically, flying by the seat of my pants and hoping for inspiration to hit!
</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">I learned many things, both theoretical and
practical, at the University of Pretoria, for which I will always be grateful. Certain stage
techniques and the experience I’d gained during my three years there are still
invaluable. Yet … I was not taught <b style="mso-bidi-font-weight: normal;">how
to</b> <b style="mso-bidi-font-weight: normal;">act</b>. The varied exercises
(Stanislavsky techniques and others) we worked with in class were diffused,
generalized – definitely not a SYSTEM or way of working that had clear goals or
results. They were not, in my experience, applicable to the very specific craft
of building a real character and doing believable work. As important as stage
techniques, games and improvs are to bring about technically professional
performances, open up the actor’s instrument and lead her to creativity and
discovery, as a training tool they only go so far. Substance and depth is
needed to train an actor to do meaningful work. It takes four years to train a
Method actor and I do not regard anyone who has spent less time on their Method
studies as such.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">DID
YOU STUDY WITH ANY MEMORABLE TEACHERS OR DIRECTORS</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">I had tremendous respect for the teachers
at Strasberg that I finally chose to work with: Irma Sandrey, Hope Arthur and
Harv Dean. Strasberg himself died before I was advanced enough to be considered
for his Master Classes. In South Africa I learnt a lot from Carel Trichardt and
the late Fred Steyn. I love and respect them all to this day.</span>
</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US"><span style="text-decoration: none;"><br /></span></span></u></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">WHAT
IS TALENT</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">I can only tell you what I think it is…
Mainly sensitivity, intelligence, strong analytical abilities, awareness, the
ability to communicate, insight, good concentration, strong will and
perseverance. The Method can make believable, strong, creative actors out of
those who possess these qualities and are willing to do the work. The really
wonderful actors, those who knock your socks off, have a few extras – charm,
charisma, self-confidence, a gut recognition and faith in what feels right –
and a little thing called “magic”, which is indefinable!</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">WHAT
ADVICE WOULD YOU GIVE TO THOSE STARTING OUT IN ACTING</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US"> </span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">STUDY
!!<span style="mso-spacerun: yes;"> </span></span></b><span lang="EN-US">Learn
your craft from proven, good teachers. Build your skills – how to speak, move,
experience, express, create, communicate and behave effectively and truthfully
and never stop honing those skills. Get to know yourself and your instrument,
because that is what you use to do your work. Travel. Read widely and as much
as you possibly can. Learn to appreciate ALL the arts. Study psychology – the
human being – and the philosophies of the world. Work to gain maturity,
self-knowledge, empathy, humility and self-esteem because, in this industry,
you’re going to need it ! </span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Be very clear on what type of actor you
want to be, and when you go out there to look for work – don’t give up! Have
faith in yourself and your skills and the knowledge you’ve gained. I also
believe that one shouldn’t wait for others to employ you – not the way things
are in S.A. today re: the industry. Get together with others, write and create
original work and perform where-ever and whenever you can. WORK – even if there
seems not to be a place for you in existing structures at this time.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">WHAT
ARE THE MAIN OBSTACLES YOU COME UP AGAINST IN TEACHING ACTORS</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">The main obstacles I come up against are blocks
in the instrument – psychological, spiritual and physical. Also fear and
resistance to self-knowledge and looking ridiculous, fear of exploration and
discovery, suppressed emotional issues - South African society is restricted,
angry, has difficulty trusting and opening up - laziness and wanting things to
just happen without working for it, and let’s not forget about ignorance and stupidity
…</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Due to the school system being what it is,
students also wish to be spoon-fed. They need to be convinced to accept the
fact that they make choices every moment of the day and that they are
responsible for how their lives turn out as a result of those choices. Many young
people look for excuses and wish to make others “wrong” and/or responsible for
the fact that they, themselves, are not <span style="mso-spacerun: yes;"> </span>in
control of their lives / work / studies. As a result, irresponsible behavior,
laziness (again!) and lack of willpower become obstacles in getting results.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Since 1994 one of the greatest problems I
face is the incredibly low level of education in South Africa. Vast numbers of
students who have passed Grade 12 are in fact functionally illiterate. They can
hardly read and their vocabulary, spelling, grammar and analytical abilities
are practically non-existent. For the past <span style="mso-spacerun: yes;"> </span>6 years I’ve had to test these abilities
before making <span style="mso-spacerun: yes;"> </span>a decision whether to
accept a student into the school. Many with Grade 12 operate on anything
between Grade 5 and Grade 8 when it comes to world standards. A number of my
students need to take remedial classes in language, reading and comprehension
in order to be able to do my course. The education system in this country has
failed these young people. It’s a disgrace!</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">DO
YOUR STUDENTS STUDY ANY LITERATURE APART FROM THE PLAYS THEY REHEARSE</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">Absolutely!! They have to read the following
books: <b style="mso-bidi-font-weight: normal;">An Actor Prepares</b> and <b style="mso-bidi-font-weight: normal;">Building a Character</b> by Stanislavsky, <b style="mso-bidi-font-weight: normal;">On Method Acting</b> by Edward Dwight
Easty, <b style="mso-bidi-font-weight: normal;">Method – Or Madness? </b>by
Robert Lewis, <b style="mso-bidi-font-weight: normal;">A Dream of</b> <b style="mso-bidi-font-weight: normal;">Passion</b> by Lee Strasberg, <b style="mso-bidi-font-weight: normal;">Do’s and Don’t’s of Drama</b> by Jean Lee
Latham, <b style="mso-bidi-font-weight: normal;">The Empty Space</b> by Peter
Brook and <b style="mso-bidi-font-weight: normal;">Freeing the</b> <b style="mso-bidi-font-weight: normal;">Natural Voice</b> by Kristin Linklater. The
student needs to pass three written assignments every year. </span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">We also do three different in-depth text
analysis workshops each year for which they have to do research on the
dramatist, his/her body of work and the particular play in question, including
one Absurd Drama as well as Absurdist principles. I expect of them to attend
classes with an expert on each text analysis assignment for approximately two
months before the exam in order that they may pass. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">The students put together
their own Prose and Poetry Programs and I also expect of them to do extensive
research re: the dramatists and plays they do scenes from in class. They are
encouraged to read widely and often. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background-color: #cccccc;"><span style="color: magenta;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">WHY DO
YOU THINK METHOD ACTORS HAVE TROUBLE DOING SITCOMS</span></u><span lang="EN-US">?</span></b></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">Never having done a sitcom myself, I can
only guess … Fortunately sitcoms are basically superficial, silly and geared towards
mass consumption. Audiences do not wish to either think or feel deeply when
tuning in and will happily accept atrocious acting ... in fact, they expect it!</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">I’d imagine that inexperienced,
half-trained actors (those who did not complete their studies) who need more time
to prepare would find the “sausage machine” process of quickly doing a run to
basically sort out technical stuff and then shooting the scene, unnerving to
deal with if they are faced with acting problems to be solved – it depends on
how the process is run and how much rehearsal time is allowed on any given set.
I expect that experienced Method actors (like Al Pacino and Helen Hunt and
those who are properly trained) can get work to solve any problems they may
experience within seconds, and that the system would therefore not cause them
any difficulties at all. You have to understand that longstanding, experienced
Method actors have instruments that are well trained, primed and ready to work.
They also are very sure of what the different techniques can give them and they
can work VERY FAST, needing <b style="mso-bidi-font-weight: normal;">seconds</b>
to incorporate a choice into their acting. Method helps to solve acting
problems and make you believable so the audience can relate – that’s what it’s
there for, to help. And it does!</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Unfortunately, many of my students who were
close to brilliant at the end of their fourth year of study, simply stop doing “the
work” when they are cast with non-Method actors. I suppose they feel different
and therefore embarrassed to do the work in front of actors who have no idea
what they are doing. Maybe they fear being laughed at or excluded or regarded as elitist or ridiculous. I don't know. So they gossip and flirt and chew the fat and play silly buggers with their pals
while waiting to do a scene rather than doing what they are getting paid to do –
the work! As a result they become just as bad as they were in their first year
very quickly – indicating, play-acting, faking emotion and response. This
saddens me deeply.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Trained Method actors don’t have to make an
exhibition of preparing their work while other actors look on. Due to the fact
that their instruments are in perfect working order after many years of
training, they simply need to separate themselves from the group and quietly focus
on their chosen sensory work in a relaxed way, stay concentrated while keeping
the preparation going and strengthen it when the cameras are rolling. Nobody
will think anything other than that they are shy or snotty or like their own
company! And as for that … who cares?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">CAN
YOU DEFINE “EMOTIONAL MEMORY”?</span></u></b></div>
<div class="MsoNormal">
<span lang="EN-US">Yes, I can. </span><span lang="EN-US">Emotional or Affective Memory is the
conscious creation of sensory aspects in / of a <b style="mso-bidi-font-weight: normal;">remembered</b> situation / emotion which has occurred in the actor’s
own past life through experiencing the sight, sound, touch, taste and smell
related to that situation / emotion and the application of the response to the
character being portrayed on the stage. </span>
</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US"><span style="text-decoration: none;"><br /></span></span></u></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">HOW
DOES AN ACTOR PREPARE FOR AN EMOTIONAL MEMORY EXERCISE</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">By doing a full relaxation the Method way
to focus concentration and release excess tension from the instrument. More
ordinary situations from their own lives are, of course, not a problem, but I
do not allow my students to practice emotional memories that are traumatic or
may have deep psychological impact, by themselves at home. Whether they do the
memory in class with my assistance or in class by themselves, deeply emotional
work is only done when I am present to guide, assist and help them towards full
expression and to deal with any blocks that may come up to prevent expression.
Traumatic situations have to be seven years old before attempting to make use of
them as emotional memories.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background-color: #cccccc;"><span style="color: magenta;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">DO
THE ACTORS USE REAL, HONEST EMOTION OR REMEMBERED EMOTION</span></u><span lang="EN-US">?</span></b></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"></span><span lang="EN-US">Remembered emotion is not real or honest?
An emotion that happens spontaneously, unexpectedly and in the moment can
easily cause problems during performance. One never knows what may follow as a
result and the actor may not be able to maintain or repeat or control such an
emotion. <b style="mso-bidi-font-weight: normal;">Remembered emotion</b> comes
from a situation that has happened before, and can therefore be recreated with
sense memory and repeated and controlled at will by the actor when necessary
for a specific response, as needed by the character being portrayed. This,
however, does not mean that the emotion is fake or dishonest. Method actors do
not only deal in <b style="mso-bidi-font-weight: normal;">emotion</b> – they deal
in real <b style="mso-bidi-font-weight: normal;">response </b>as the character
within a specific situation. Actors are not required to have big emotions
throughout every performance but the response (even to small things like having
a chat with your mom while preparing dinner) must be real.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background-color: #cccccc;"><span style="color: magenta;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">DO
YOU KNOW OF ANYONE WHO BECAME INSANE BECAUSE OF THE METHOD</span></u><span lang="EN-US">?</span></b></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"></span><span lang="EN-US">Personally? No. I’ve never heard of such a
thing either. If remembering aspects of your past caused people to go insane
there wouldn’t be a single sane person on this planet. If a person is seriously
off-balance, psychologically, or if they have drug and / or alcohol problems,
personality disturbances etc. etc., anything could push them over the edge.
They’ll probably, in fact, have the odd breakdown in varying degrees of
seriousness a number of times in their lives. The Method does not CAUSE mental
or emotional disturbance. I believe it helps people to deal with unhappy experiences. In my experience, working with the Method brings
about higher levels of maturity, insight, self-knowledge, understanding of the
self and others, empathy, spiritual depth and wisdom in my students. I see incredible
personal growth and positive changes within the first year and it only becomes
more apparent in those who choose to stay four years to complete the course.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background-color: #cccccc;"><span style="color: magenta;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">I
KNOW THAT USING THE METHOD PLACES A LOT OF EMOTIONAL STRESS ON THE ACTORS. WHAT
DO YOU DO TO HELP THEM OVERCOME IT</span></u><span lang="EN-US">?</span></b></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"></span><span lang="EN-US">This is totally untrue. I disagree most
strongly that the Method as such places emotional stress on actors. They stress
less during performance if they focus on doing the work, which makes them feel
safe and in control. Even if they have to create highly emotional work for a
scene or throughout a play or film, they know exactly what to do the moment the
cameras stop rolling or the curtain comes down. They physically and emotionally
release the work by doing relaxation, shaking out, making sound and <span style="mso-spacerun: yes;"> </span>thus “coming back to reality”. When they walk
out of the theatre or studio they leave the work behind totally until they have
to get it back again for the next show or shoot. This is much better than being
a mechanical actor who believes he has to walk cripple for three months or take
the character with him wherever he goes, for fear of “losing” the character, even
when not performing, don’t you think? Method actors drop the work and pick it
back up as and when they need it and live their ordinary, normal lives when not
performing. Much less stressful!</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">I’ve certainly never experienced emotional
stress as a result of the work itself during the four years I studied at
Strasberg. I’m aware of the fact that my actors experience stress, but it comes
from their own life-issues – break-ups with lovers, work problems, self-esteem
issues, bad relationships with people in their lives, fears, angers, blocked
feelings, resistance, unresolved emotional baggage. So … they may get tense or
scared about doing certain exercises due to their own personal challenges. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">If that is the case and I become aware of
the fear / resistance, I encourage them to really focus on relaxation to let go
of all excess tension in the instrument. I encourage them to let their personal
issues go, through a little exercise where they put these things aside until
they can deal with them later. I help them to focus the concentration and the
will. If the problems persist, I discuss their issues with them, as it relates
to the work, and give advice, guidance and support on how they can let it go. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">I get very fond of my students and I treat
them with loving affection as often as I give them heck! I frequently suggest
that students see a health professional or psychologist if their health or
personal problems seem serious, and cannot be overcome by the above methods. I
do, however, try not to get personally involved with their lives and issues if
same does not get in the way of the work. It’s none of my business!!</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">WHAT
IS THE PURPOSE OF “SONG AND DANCE”? HAS IT ANYTHING TO DO WITH TRAINING THE
“WILL” OF THE ACTOR</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"></span><span lang="EN-US">The exercise addresses several aspects re:
the opening up of the actor’s instrument. Awareness and control of emotion and
expression, development of spontaneous response, elimination of involuntary
nervous expression, the breaking of verbal and physical movement habits as well
as other habitual responses, open communication with an audience, development
of concentration, immediate response to direction, awareness of tempo-rhythms
and the ability to respond to same, and control of the instrument. </span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Yes! The actor’s “will” is of the utmost
importance here in doing something that is actually very simple but at the same
time extremely difficult to do, because it goes against the grain of his
training and his usual habitual responses.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background-color: #cccccc;"><span style="color: magenta;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">WHEN
YOU SAY TO THE ACTOR: “TAKE A MINUTE”, WHAT DO YOU MEAN</span></u><span lang="EN-US">?</span></b></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"> </span><span lang="EN-US">Do a little relaxation, focus the
concentration, center yourself, prepare.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background-color: #cccccc;"><span style="color: magenta;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">…
AND DON’T YOU THINK THAT ONE MINUTE IS ACTUALLY RATHER A LONG TIME ON STAGE</span></u><span lang="EN-US">?</span></b></span></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US"><span style="text-decoration: none;"></span></span></u></b><span lang="EN-US">It’s a lifetime! Method actors do not,
however, “take a minute” or “speak out” or do a full relaxation with movement
and sound and opening up while on stage or make the audience wait while they
get their sense memory, during performance! They do so <b style="mso-bidi-font-weight: normal;">before </b>performing and in the training situation to teach the
instrument to become aware of and control tension / lack of concentration / indicating
and let it go unobserved, while working. The training process takes time, but
once the instrument is primed to do the work, difficulties while working can be
dealt with, without “taking a minute” during performance. That is why it takes
several years to train a Method actor fully. Once s/he starts working
professionally, “taking a minute” is only required before performing but
totally unnecessary and not desired during in performance.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">HOW
LONG DO YOU THINK A STUDENT HAS TO STUDY TO BE READY FOR PROFESSIONAL ACTING</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"></span><span lang="EN-US">This depends on the individual. There are
film actors who started as children without any training at all, like Jodie
Foster and Leonardo Di Caprio, who are both very good. But then, film acting is
different to stage acting because you have all the “takes” you need to get the
moment and then you can “edit” a good performance together from whatever the
actor managed to give you. Depending on how fast the given person works, I
regard my students as ready to start doing auditions after three to five years
of part-time training – depending on the actor’s instrument and understanding.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background-color: #cccccc;"><span style="color: magenta;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">HOW
DO YOU FEEL ABOUT DON RICHARDSON, WHO IS AGAINST THE METHOD, SAYING: “ART IS A
REFLECTION OF REALITY, NOT REALITY ITSELF.”</span></u></b></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"></span><span lang="EN-US">I agree with him.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background-color: #cccccc;"><span style="color: magenta;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">IS
IT TRUE THAT METHOD ACTORS ALWAYS PLAY VERSIONS OF THEMSELVES AND FORGET THE
AUTHOR’S CONCEPT OF THE CHARACTER</span></u><span lang="EN-US">?</span></b></span></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US"><span style="text-decoration: none;"></span></span></u></b><span lang="EN-US">Balderdash! This is an utter fallacy. Some actors
who don’t know what they’re doing <span style="mso-spacerun: yes;"> </span>because they haven’t studied long enough and /
or are there only to show how well they can emote or get into the “look at me,
ain’t I good” thing, may be guilty of this. But you find actors of every type
and stripe who don’t know what they’re doing and act only to be in the spotlight.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">The good, well-trained Method actor knows
that you have to play the author. Everything he does – text analysis; character
analysis; research; answering questions re: intent, obstacle, Who, What, Where,
When, Why, the magic IF, motivation, justification, What do I want?, What do I
do to get what I want?, What is the most important thing that must be created
in this scene?; choosing his Method work to make the character real and
believable – EVERYTHING is about creating the character the author intended him
to play – allowing, of course, for the fact that interpretations may differ. My
students know that I will never tolerate an actor who uses the work as therapy,
or for self-aggrandizement, emotional masturbation or “getting away with it”.
It should be every actor’s honor to do his job right, and his job is to play
the author. Anyway, who are you going to use if not yourself? The girl next
door?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background-color: #cccccc;"><span style="color: magenta;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">IS
METHOD DEATH TO COMEDY</span></u><span lang="EN-US">?</span></b></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"></span><span lang="EN-US">Gene Wilder and Peter Boyle in “Young Frankenstein”, Robert de Niro in “Analyze This!”,
Marilyn Monroe in “The Prince and the Showgirl”, Angelina Jolie in “Pushing
Tin” - there are so many examples of Method actors who do wonderful comedy
work. </span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">The more real and believable when the
pigeon drops one on your head, the more the average moviegoer can relate and
see himself (or his neighbor) in you, the funnier you are. The more you
indicate, anticipate and comment, the more of a trial to those who have to sit
through it.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">DO
YOUR STUDENTS DO TRUST EXERCISES</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"></span><span lang="EN-US">In Group Theatre classes, yes. Not in
Method. The work the Method actors do with substitution, for instance, gives
them relationship, even if they don’t know and trust their acting partner(s).
You can substitute anyone and anything and be comfortable within that situation.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US">DO
YOUR STUDENTS DO IMPROVISATIONAL WORK</span></u><span lang="EN-US">?</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"></span><span lang="EN-US">Absolutely. Improvisation is an integral
part of the Method. I do improvisations with my Group Theatre students and
expect all my Method students to use improvisations whenever they prepare
scenes for class or when we work on a show. When we do a workshop production
based on improvisation we start from scratch with only an idea at the beginning
of the process and go on stage with a fifty-minute to one-hour play by the end
of it.</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">There’s a lot of resistance and negativity out
there re: the subject I teach. People in the industry have read a book or two
and / or worked with someone whom they dislike who calls him or herself a
Method actor, and they form all kinds of judgements and beliefs regarding this
way of working, while being totally ignorant of what it entails. Feeling
ignorant and therefore threatened by something<span style="mso-spacerun: yes;">
</span>you don’t understand causes fear, resentment and resistance. <span style="mso-spacerun: yes;"> </span>You cannot learn about the Method from a
book!<span style="mso-spacerun: yes;"> </span>You need to experience it over the
period of at least one year in order to be able to form an opinion. One cannot
talk about something you know nothing about! If a person in this country has
not studied with me or at one of the Method schools in the United States for
long enough to know what s/he is doing (between three and five years), s/he is
not a Method actor. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Older posts by Stephanie van Niekerk:<br />
<br />
<a href="http://methodacblog.blogspot.com/2012/12/it-aint-easy.html" target="_blank">It ain't easy.</a> </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br /></div>
</div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-748509251661052067.post-11550064252112409072012-12-09T10:33:00.001-08:002012-12-09T10:33:10.985-08:00Liane Heyl<iframe allowfullscreen="" frameborder="0" height="344" src="http://www.youtube.com/embed/__9v8BWOUcM?fs=1" width="459"></iframe><br />
<br />
Please feel free to leave a comment...saske505http://www.blogger.com/profile/16700172474152120201noreply@blogger.com0tag:blogger.com,1999:blog-748509251661052067.post-10369078139977083172012-12-08T08:22:00.001-08:002012-12-08T08:22:44.561-08:00Johan Ahlers - Artists - Thespians - Actors Agency - Johannesburg, 2104<a href="http://www.thespians.co.za/p/384580/johan-ahlers#.UMNpP_clleM.blogger">Johan Ahlers - Artists - Thespians - Actors Agency - Johannesburg, 2104</a><br />
<br />
<br />
saske505http://www.blogger.com/profile/16700172474152120201noreply@blogger.com0tag:blogger.com,1999:blog-748509251661052067.post-58891710188809442242012-12-08T07:55:00.001-08:002012-12-08T07:55:01.876-08:00Taichung Improv - 2nd Anniversary @ The Londoner, Taichung, Taiwan 2009<iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/lPHXECFNfNs?fs=1" width="480"></iframe><br />
<br />
You can also find out more about what Josh is up too in Taiwan @ http://www.taichungimprov.net/media.aspsaske505http://www.blogger.com/profile/16700172474152120201noreply@blogger.com0tag:blogger.com,1999:blog-748509251661052067.post-71573221481495537072012-12-07T15:00:00.002-08:002012-12-07T15:01:06.702-08:00Just some more photos...Set two...Activate emotion... SERIOUS!<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgbAhvFdBby8hiiO-TJh8GWpDvgSZIKBZbEzoQMK36NPX85C4SZxV9aYxZipDtpuyRLQtrW5DoGsNXFYP4CR3M68u1fwny_nQHMzDmCb3YB7sua19kahXamZBCq3Ury-7LzD8lqqY9GaU/s1600/Abby+photo+2010.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgbAhvFdBby8hiiO-TJh8GWpDvgSZIKBZbEzoQMK36NPX85C4SZxV9aYxZipDtpuyRLQtrW5DoGsNXFYP4CR3M68u1fwny_nQHMzDmCb3YB7sua19kahXamZBCq3Ury-7LzD8lqqY9GaU/s640/Abby+photo+2010.jpg" title="Abby Fourie" width="350" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVIjLp0-K6splBtBbE9huFrD2OmitZD7NxyBJf3WbPIu8Tt9EMeA0XBwZ2dd52zf7no2y5_Vb-d4dfmmZhNgCe2TLWI9cyfnXKHQxSo_uPJrgekP92ivas0xfCorgqD81ajKT_oVErzgs/s1600/Heuwels+2+2008.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="" border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVIjLp0-K6splBtBbE9huFrD2OmitZD7NxyBJf3WbPIu8Tt9EMeA0XBwZ2dd52zf7no2y5_Vb-d4dfmmZhNgCe2TLWI9cyfnXKHQxSo_uPJrgekP92ivas0xfCorgqD81ajKT_oVErzgs/s640/Heuwels+2+2008.JPG" title="Stephan Barker Jana de Jager" width="426" /></a></div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh42-ySRjYGgUWE-7wA0fZJOXqANLWhHFASv8-_kxSNed7N7DpLhw8dDNQg5GucjnbYFTrY1gkTp2KblBFZ6IVXeCBBaddj_D6Am_9NmYKVnSBxHYZh4uz34Nl-_Pc9yZjVfTvrozXeWbQ/s1600/Zoo+Story+Maree+as+dog.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh42-ySRjYGgUWE-7wA0fZJOXqANLWhHFASv8-_kxSNed7N7DpLhw8dDNQg5GucjnbYFTrY1gkTp2KblBFZ6IVXeCBBaddj_D6Am_9NmYKVnSBxHYZh4uz34Nl-_Pc9yZjVfTvrozXeWbQ/s320/Zoo+Story+Maree+as+dog.JPG" title="Stephan Maree" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje5ikKwczIyi1yDUXrVuFyDmrekMjDg38gbnOLVMPOPYg-y0alPQszvebVSaIbMLo5B7Prjef7L_APwK5vOiPWwMJ8BT7lKwKQVbcLbga3zlzcA_WDC7VY8wJGFoqrGP9qpYUa69sy0-k/s1600/Speurder+Bloedhond+008.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje5ikKwczIyi1yDUXrVuFyDmrekMjDg38gbnOLVMPOPYg-y0alPQszvebVSaIbMLo5B7Prjef7L_APwK5vOiPWwMJ8BT7lKwKQVbcLbga3zlzcA_WDC7VY8wJGFoqrGP9qpYUa69sy0-k/s320/Speurder+Bloedhond+008.jpg" title="Mario Vosloo" width="240" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmNelZSr7nSHIbypZ59jzGQNQreZRMamVn3Odt7ZHX9whydz-5Qu9kWZyw4A5i6DFK1fbPCrDstdgzncXgUS7eJY-mc90phyxMxRz2xx_GU2KFI8Jr28a0xaFPfFBhyLOzIyl46Otl3lw/s1600/Renoster+7+2008.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="" border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmNelZSr7nSHIbypZ59jzGQNQreZRMamVn3Odt7ZHX9whydz-5Qu9kWZyw4A5i6DFK1fbPCrDstdgzncXgUS7eJY-mc90phyxMxRz2xx_GU2KFI8Jr28a0xaFPfFBhyLOzIyl46Otl3lw/s320/Renoster+7+2008.JPG" title="Stephan MAree" width="320" /></a></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCk9g_U58VyLVryVynPUJuZ5vJs4sgONj0vSgvAZd5D2E6hpCKWPIhUuETmQ_RuXZ3yQn7HkezGqyg539p6zDdcrCTrIX94Lk21T-kF5ngpzb2gw2qRcpw20yK0bxIiAkTAUg7cKQdUDc/s1600/Daydreams+and+Nightmares+Michelle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCk9g_U58VyLVryVynPUJuZ5vJs4sgONj0vSgvAZd5D2E6hpCKWPIhUuETmQ_RuXZ3yQn7HkezGqyg539p6zDdcrCTrIX94Lk21T-kF5ngpzb2gw2qRcpw20yK0bxIiAkTAUg7cKQdUDc/s320/Daydreams+and+Nightmares+Michelle.jpg" title="Michelle Victor" width="266" /></a></div>
<br /></div>
saske505http://www.blogger.com/profile/16700172474152120201noreply@blogger.com0tag:blogger.com,1999:blog-748509251661052067.post-74286227163518767992012-12-06T06:40:00.001-08:002012-12-08T06:30:47.488-08:00Old Students!<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/pHe5EQk2JXA?fs=1" width="480"></iframe><br />
<iframe allowfullscreen="allowfullscreen" frameborder="0" height="360" src="http://www.youtube.com/embed/ApfX3vxsLyE?feature=player_detailpage" width="640"></iframe></div>
</div>
<iframe allowfullscreen="allowfullscreen" frameborder="0" height="360" src="http://www.youtube.com/embed/UCXlaASki1s?feature=player_detailpage" width="640"></iframe><br />
<br />
Do you want to know who else studied at the <a href="http://www.methodacting.co.za/" target="_blank">Method Actors' Training Centre</a>? We have a great <a href="http://www.methodacting.co.za/Alumni.htm" target="_blank">Alumni</a> page with information on the graduates. Or if you just want to find out more about what <a href="http://methodacblog.blogspot.com/2012/10/the-madness-in-me-it-must-be-method.html" target="_blank">The Method</a> is follow the link to my first post. Hope you enjoyed the video's, I will definitely be looking around the web to see what the other old student's are up to, hope<a href="http://www.methodacting.co.za/" target="_blank"> Liezl Carstens</a> will do something again soon.<br />
<br />
<br /></div>
saske505http://www.blogger.com/profile/16700172474152120201noreply@blogger.com0tag:blogger.com,1999:blog-748509251661052067.post-12311554707178556762012-12-05T17:51:00.001-08:002012-12-10T19:13:06.285-08:002012 Photos Set 1<div dir="ltr" style="text-align: left;" trbidi="on">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMgzg5lqo-BpKywgGK2Ph0mES-B_bIZerOz_kD25Xqno-Ke-o8-Gn4VgjnjQAcIAvM2uAINMztsNjG_8atJuzWWkgJpcRHh_f92nfNNzGv0wXGvldifx1GOHo4moIjwUQQ5QikKtDNwR4/s1600/always_eating.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMgzg5lqo-BpKywgGK2Ph0mES-B_bIZerOz_kD25Xqno-Ke-o8-Gn4VgjnjQAcIAvM2uAINMztsNjG_8atJuzWWkgJpcRHh_f92nfNNzGv0wXGvldifx1GOHo4moIjwUQQ5QikKtDNwR4/s200/always_eating.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stephanie's birthday!</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcusxXdiXGxmn9C6Z5HwYEKDVUemCjICEvvupQ3VsxJgMMw_myIP9Z90WISjEMwq2J7mRa9ydwu0PsdfQ_BaeZL3rEkQd4dn09yzu9HyPb_VEFuRo4kmNVeGo1MO05Bfg7Ja3jJ030WlY/s1600/year_wnd_show_venue.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcusxXdiXGxmn9C6Z5HwYEKDVUemCjICEvvupQ3VsxJgMMw_myIP9Z90WISjEMwq2J7mRa9ydwu0PsdfQ_BaeZL3rEkQd4dn09yzu9HyPb_VEFuRo4kmNVeGo1MO05Bfg7Ja3jJ030WlY/s200/year_wnd_show_venue.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The stage all set up and ready for Everyman</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinzmFMwnB4XY-bFvFGCGNztMWHYoDp8kr6iXlpVDSAZTiUsrwv0IfVxNX5bDQ9iOZ6MIt0VzF6wGxSjhTMaRxl2ASzfksMzvw3PNtyzm5YWE9m5-FXpbEB_Lf4vUQn7DQ6ej-8x5aQ1y0/s1600/everyman.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinzmFMwnB4XY-bFvFGCGNztMWHYoDp8kr6iXlpVDSAZTiUsrwv0IfVxNX5bDQ9iOZ6MIt0VzF6wGxSjhTMaRxl2ASzfksMzvw3PNtyzm5YWE9m5-FXpbEB_Lf4vUQn7DQ6ej-8x5aQ1y0/s200/everyman.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Everyman and Fellowship</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtt_48kpLNzR3M3pk5t-q0vexRYGCT49jHxr2Y_k0bi_yuAP2IHFYbJ6CCq07BLb_nfjWrwq8JCwqVwV4qMDCJZVQ7sfu5T7bXAu8F3KuFQlY7M6qYtD8fnLf1KpuPIOLQU-jWBSwpb8I/s1600/doin_make_up.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtt_48kpLNzR3M3pk5t-q0vexRYGCT49jHxr2Y_k0bi_yuAP2IHFYbJ6CCq07BLb_nfjWrwq8JCwqVwV4qMDCJZVQ7sfu5T7bXAu8F3KuFQlY7M6qYtD8fnLf1KpuPIOLQU-jWBSwpb8I/s200/doin_make_up.jpg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mario and Peraldo make up.</td></tr>
</tbody></table>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2elltr_cghTV7NLhFDNen_TaMSX5W-SA4Mm8OJsvJguDqhocze_Q_h98rVRWMGvVRLMZ24lXw3GdyCOHr0Pf0nUE8DHKQbw6Xe6cf8wz4EmYFuJDH50_X5AIiGiSzX9Rw4cK_PmB-5gw/s1600/freaks.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2elltr_cghTV7NLhFDNen_TaMSX5W-SA4Mm8OJsvJguDqhocze_Q_h98rVRWMGvVRLMZ24lXw3GdyCOHr0Pf0nUE8DHKQbw6Xe6cf8wz4EmYFuJDH50_X5AIiGiSzX9Rw4cK_PmB-5gw/s200/freaks.jpg" width="200" /></a> <br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhShwHI3LGuLJJNlWSp47ekLR25phqQ5DolMRbWFtvob7JQdR7U0niSfRsRxKOI84wbL19eNEPrk9DSAHMStA7DTTJaCNYWUiFJsE094myM4r9KS3bz72HeQFrcJIQ6QT8Q4s6LvloQ6-A/s1600/text_analysis.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhShwHI3LGuLJJNlWSp47ekLR25phqQ5DolMRbWFtvob7JQdR7U0niSfRsRxKOI84wbL19eNEPrk9DSAHMStA7DTTJaCNYWUiFJsE094myM4r9KS3bz72HeQFrcJIQ6QT8Q4s6LvloQ6-A/s200/text_analysis.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Meeting!</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnOcaaTnCvn6Si_xpSpLxjF-R4eQCPjMNnogDV5Reqsca3y7U-isMQP31WQbWWDbYI4XQwv_pExHiLt1CSWc08AxpUT0v-X2wAGBw4oaZ0LMEWxi7Eap_0ZAWJWQthfeTg9pZ1sp1FXOA/s1600/production_meeting.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnOcaaTnCvn6Si_xpSpLxjF-R4eQCPjMNnogDV5Reqsca3y7U-isMQP31WQbWWDbYI4XQwv_pExHiLt1CSWc08AxpUT0v-X2wAGBw4oaZ0LMEWxi7Eap_0ZAWJWQthfeTg9pZ1sp1FXOA/s200/production_meeting.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Text analyses </td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPXrYS3oLvzsxjDH2R_zmRTdIBu3JYN8PkoS3Ws1_O3nCuMe-qXAaNu4-Rt6-qeF-6uqtnXTd0Ah6Brj63suBf-2pDpLFnPxxNOFR1IvORs65KwIb3t1a1Q9cSFZCFWhWELOvAxpB-j7w/s1600/everyone.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPXrYS3oLvzsxjDH2R_zmRTdIBu3JYN8PkoS3Ws1_O3nCuMe-qXAaNu4-Rt6-qeF-6uqtnXTd0Ah6Brj63suBf-2pDpLFnPxxNOFR1IvORs65KwIb3t1a1Q9cSFZCFWhWELOvAxpB-j7w/s200/everyone.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">After cleaning up the theater </td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7dtJ3SJPrEoGGM7v7R1cD3J8-ag1Y7yGlSr7G2NXM_F45GdkadmsNgSEvOQZVuQtgA788VBJAXGe_OhhF0dT6nT9h7vixbaoscjj-pEVsi3R25v-3eUPE-9jOQg4bW5BQaJW40X8Qkh4/s1600/mirakel_mid_year.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7dtJ3SJPrEoGGM7v7R1cD3J8-ag1Y7yGlSr7G2NXM_F45GdkadmsNgSEvOQZVuQtgA788VBJAXGe_OhhF0dT6nT9h7vixbaoscjj-pEVsi3R25v-3eUPE-9jOQg4bW5BQaJW40X8Qkh4/s200/mirakel_mid_year.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The cast of Miracle.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkBtkYLjYD6LYIa_SeYXNRU-4kXRXswpk7zssflax7xjNEm1GEflx2ZtlbaNkUacVZaxcii-wh5pnn_p-F07pSZ59IAp49M8tkYWPC2tD-VxoWuO1wmcpK822QhnQoFH4F9Gpz4jTi_8k/s1600/matc_class_of_2012.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkBtkYLjYD6LYIa_SeYXNRU-4kXRXswpk7zssflax7xjNEm1GEflx2ZtlbaNkUacVZaxcii-wh5pnn_p-F07pSZ59IAp49M8tkYWPC2tD-VxoWuO1wmcpK822QhnQoFH4F9Gpz4jTi_8k/s200/matc_class_of_2012.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Certificate ceremony and Stephanie's big birthday bash!</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVIPS-w0lnfiUM54IYlsbl2vEQXD5sOzdZLVpR4iP0ijNr_YLep4qKPNn4Y5LVkETqlGy-sZuaEM2wn6wi9f6_G3zAC7dNiT91wsWJljxYFbavonrtnbCxGlqvzfbL8BjL9xKqfjNhk1k/s1600/kissy_kissy.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVIPS-w0lnfiUM54IYlsbl2vEQXD5sOzdZLVpR4iP0ijNr_YLep4qKPNn4Y5LVkETqlGy-sZuaEM2wn6wi9f6_G3zAC7dNiT91wsWJljxYFbavonrtnbCxGlqvzfbL8BjL9xKqfjNhk1k/s200/kissy_kissy.jpg" width="141" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Passion of the kiss.</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh9EDXJHUTvp1LEVsiUNJ_xOhukWmwBRX4_E7avyF4s0-WSXif0C0K_Q6VCEThY-piDGC_RCQ-5qlEwG6oM98B6ERY8nBpcikm5kPQvF6pVaQX21aSYQBaYr0VZ2GIo_FjWgF-4kZQxMY/s1600/year_end_function_2011.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh9EDXJHUTvp1LEVsiUNJ_xOhukWmwBRX4_E7avyF4s0-WSXif0C0K_Q6VCEThY-piDGC_RCQ-5qlEwG6oM98B6ERY8nBpcikm5kPQvF6pVaQX21aSYQBaYr0VZ2GIo_FjWgF-4kZQxMY/s200/year_end_function_2011.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Big smile from Mario.</td></tr>
</tbody></table>
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIs2V9ApF8uuoUprXM5m_RsWyvqQyDTKxAfPXQNzvi9By-0Eq0q-taWl4v5eQAFlJnt1HapvW0csJ6znVlBTRV7Y4LIOgm50gGRP1Ip_7X5O9I5u9u1RRGk9pOXSdHb2NcF5VCaQQpy3g/s1600/year_end_show_2011.jpg"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIs2V9ApF8uuoUprXM5m_RsWyvqQyDTKxAfPXQNzvi9By-0Eq0q-taWl4v5eQAFlJnt1HapvW0csJ6znVlBTRV7Y4LIOgm50gGRP1Ip_7X5O9I5u9u1RRGk9pOXSdHb2NcF5VCaQQpy3g/s200/year_end_show_2011.jpg" width="121" /></a><br />
<div style="clear: both; text-align: NONE;">
</div>
</div>
saske505http://www.blogger.com/profile/16700172474152120201noreply@blogger.com1tag:blogger.com,1999:blog-748509251661052067.post-37387542088592732462012-12-04T03:48:00.000-08:002012-12-10T15:46:14.683-08:00It ain't easy!<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="http://methodacblog.blogspot.com/2012/10/the-madness-in-me-it-must-be-method.html" target="_blank">Studying Method</a> is not for the faint-hearted! It requires courage, will-power, perseverance, hard work and a willingness to face yourself head-on. It means making sacrifices and recognizing that some of the things you regard as important in your life may have to take a back seat for a period of time. Few first-year students have the drive to complete the year and even fewer go on to a second- third- and fourth year of study. It takes three to four years to complete the course. Only then can you call yourself a "Method Actor".<br />
<br />
Once a student has worked his or her way through all the exercises over a period of time, s/he is fully prepared to go into an industry that eats actors and directors for breakfast and then spits them out! By then the actor will have all the qualities necessary to enter into the entertainment industry, however. The actor will know that s/he is fully trained, has solid technique and experience, the persistence to continue auditioning no matter how many rejections s/he faces and the ability to create original work and follow through on putting that work in front of an audience in whatever form - theatre, film or television.<br />
<br />
Artists are not formed overnight. It takes time to shape an instrument which is capable of doing whatever is required as a character or to acquire the knowledge, maturity and experience to be a director of note. Many who wish to be actors believe that it's going to be easy to get into a position where they become "known" and get lots of work, to be famous ... which is really what they want. For them being an actor or director is secondary ... the means to an end ... and excellence in their craft is not a requirement. Being an inferior or mediocre "star" is fine, as long as the money-and-fame pay-off is there. <br />
<br />
The true artist sees things differently. For him or her contributing to the art form is what it is all about. S/he has a powerful will and is powerfully possessed by one idea, working towards truly being an ARTIST in a chosen field. The true artist does not ask what acting, for instance, can do for him or her but what s/he can do to bring depth to the art form. Energy, hard work, time, struggle and self-questioning is part of the path towards true artistry. You need to stop saying "I can't" in order to be capable of doing anything you want to do. You cannot allow obstacles to get in the way. <br />
<br />
At the <a href="http://www.methodacting.co.za/ContactUs.htm" target="_blank">Method Actors' Training Centre</a> we train artists. That is our purpose. We wish to work with the small minority who share the dream of excellence, who want to give to the art forms of acting and directing with commitment and "gravitas", who truly wish to become the best they can possibly be at what they do. </div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-748509251661052067.post-17792138483132458132012-11-01T06:34:00.002-07:002012-12-05T19:45:03.299-08:00Tired of fake acting on South African stages and television? Would you like to do better yourself?The Method Actors’ Training Centre is the answer! <div dir="ltr" style="text-align: left;" trbidi="on">
<h3 style="text-align: center;">
<span style="background-color: black; color: white;"> </span><a href="http://www.methodacting.co.za/TheCourse.htm" target="_blank">Click now for more information. </a></h3>
<div style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZFIxHUo1EYrAldDiBqQS_t1aEJ8gVuGsb-_eZQySq4lPJUgemYxIsjWPoffQ2QkuDBhZpEs_0Y9gYlnlAYuJDaQd2XAl1zESuBOVokZhy99j9kbv3PxrRn3cuKEZ_RIyuWjFJ9s3-GzU/s1600/method-add.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="459" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZFIxHUo1EYrAldDiBqQS_t1aEJ8gVuGsb-_eZQySq4lPJUgemYxIsjWPoffQ2QkuDBhZpEs_0Y9gYlnlAYuJDaQd2XAl1zESuBOVokZhy99j9kbv3PxrRn3cuKEZ_RIyuWjFJ9s3-GzU/s640/method-add.png" width="640" /></a></div>
<br /></div>
</div>
saske505http://www.blogger.com/profile/16700172474152120201noreply@blogger.com0tag:blogger.com,1999:blog-748509251661052067.post-70725631122903851802012-10-30T07:02:00.001-07:002012-10-30T07:02:37.005-07:00Method Actors' Training Centre South Africa<iframe allowfullscreen="" frameborder="0" height="344" src="http://www.youtube.com/embed/3Z2BeQAmnW4?fs=1" width="459"></iframe>saske505http://www.blogger.com/profile/16700172474152120201noreply@blogger.com0tag:blogger.com,1999:blog-748509251661052067.post-51247389175416775512012-10-25T06:24:00.000-07:002013-02-06T13:18:21.340-08:00The Madness in Me? ... It must be The Method.<div dir="ltr" style="text-align: left;" trbidi="on">
<h2 style="text-align: left;">
<a href="https://plus.google.com/108680100260593636063?
rel=author">Google</a>
<span style="font-family: Arial, Helvetica, sans-serif;">The Madness in Me? ... It must be<a href="http://en.wikipedia.org/wiki/Method_acting" target="_blank"> The Method</a>.</span></h2>
<h3 style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;">A little Method history.</span></h3>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;">For something to have a "the" before another word usually means something hardcore, right? I mean come on, the plague, the riots, the big bang, the moon and even the pope. See what I mean? Let me try and give you a small breakdown of what The Method is and where it began.</span></div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr_XvBpMaoh30fJRIGy6Sosq20y2zlGXGG8bq7Ho3f26b77hSN0liiMRHFeLiBT7RebyXAivWO2Ow4z-EKshjJgfFa9GNubRAFIUBvVTVJH1q_yqdvzJABy61YMD2PFDCcnS9cXSX-WmI/s1600/konstantin-stanislavsky_2-t.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Arial, Helvetica, sans-serif;"><img alt="" border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr_XvBpMaoh30fJRIGy6Sosq20y2zlGXGG8bq7Ho3f26b77hSN0liiMRHFeLiBT7RebyXAivWO2Ow4z-EKshjJgfFa9GNubRAFIUBvVTVJH1q_yqdvzJABy61YMD2PFDCcnS9cXSX-WmI/s200/konstantin-stanislavsky_2-t.jpg" title="Constantin Stanislavski" width="142" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">Konstantine Stanislavski</span></td></tr>
</tbody></table>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;">The form of acting known as 'The Method' or 'Method Acting' was developed from the work of the Russian actor/director, <a href="http://en.wikipedia.org/wiki/Constantin_Stanislavski" target="_blank">Konstantine Stanislavski</a>. I know what you're thinking...cool name right? Well this guy was pretty serious when it came to acting. He said "being an actor requires dedication, discipline and integrity..." not something we see very much of in South Africa today, but lets not get into that right now.</span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;">Throughout his life Konstantine was involved in a constant process of artistic self-analysis and reflection. Stanislavski knew that the reality on-stage was different than in real life but he believed that actors could achieve what he called a 'scenic
truth', something that would draw the audience in to believing that what
was happening on stage was in fact the truth. He developed techniques that could be used by actors to create believable characters. The techniques and theories he developed became known as 'The Stanislavski System'. </span></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<a href="http://books.google.co.za/books?id=qQ-TmsEx7ZoC&printsec=frontcover&dq=Stanislavski%27s+An+Actor+Prepares&source=bl&ots=1iMYwokr15&sig=UTvqs74G4C8Vk8CM5M-Pr9ph0k0&hl=en&sa=X&ei=muFoUJTYCqKZ0QX3zYDYCg&ved=0CDYQ6AEwAQ#v=onepage&q=Stanislavski%27s%20An%20Actor%20Prepares&f=false" target="_blank">To read more about his techniques click here</a></div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLOgDX0tEgnuIxVtAAjfVOTi01r3xFWc7cjsZdq9XklrveqbNKTt10BNp5eVmXzw_nZK2c-OXGmYnH9T-hLi3edvJ-_O3u8IRAcwPCpvqXEqCYcCT8JWpmaK2sizRCItWh4R3r4Y7YITE/s1600/237px-Lee_Strasberg_LAT_1978.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLOgDX0tEgnuIxVtAAjfVOTi01r3xFWc7cjsZdq9XklrveqbNKTt10BNp5eVmXzw_nZK2c-OXGmYnH9T-hLi3edvJ-_O3u8IRAcwPCpvqXEqCYcCT8JWpmaK2sizRCItWh4R3r4Y7YITE/s200/237px-Lee_Strasberg_LAT_1978.jpg" width="181" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Father of Method</td></tr>
</tbody></table>
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin-top:0in;
mso-para-margin-right:0in;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0in;
line-height:115%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]-->
<br />
<table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="mso-cellspacing: 0in; mso-padding-alt: 0in 0in 0in 0in; mso-yfti-tbllook: 1184;">
<tbody>
<tr style="mso-yfti-firstrow: yes; mso-yfti-irow: 0; mso-yfti-lastrow: yes;">
<td style="padding: 0in 0in 0in 0in;"><div align="center" class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: center;">
<h4>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The
Father of Method:</span></span></h4>
</div>
</td>
</tr>
</tbody></table>
<div style="text-align: left;">
<span style="font-size: 12pt;"><span style="font-family: Arial, Helvetica, sans-serif;">The Method was created and
structured by Lee Strasberg, an American actor/director/teacher who was inspired by the system
Stanislavski developed.</span></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="text-align: left;">
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->
</div>
<div class="MsoNormal" style="line-height: normal; text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">He saw The Moscow Art Theater for
the first time when Stanislavski brought it to the United States
in 1923. He was amazed at how the actors were able to let go and detach themselves
from the ego and give in to their work completely, no matter how big or small
the role was. All the actors seemed to have the same dedication. Richard
Schickel describes Lee's experience: "every actor seemed to project some
sort of unspoken, yet palpable, inner life for his or her character. This was
acting of a sort that one rarely saw on the American stage ...".</span></div>
<div class="MsoNormal" style="line-height: normal; text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">8 Years later, in 1931, he helped to form 'The Group Theater' </span><span style="font-size: 16px;">together with two other directors, Harold Clurman and Cheryl Crawford. T</span><span style="font-size: 12pt;">his group was hailed as "America's first true theatrical
group". The techniques we refer to as The Method were developed during this period.</span></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">In 1951 Lee became the director of
'The Actors Studio' which is based in New York and is to this very day still
considered one of the nation’s most prestigious acting schools. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Lee Strasberg is considered to be the father of Method
acting and up until his death revolutionized the art of acting for stage and film.
Lee Strasberg trained some of the best actors in the industry with his Method
acting techniques including <a href="http://en.wikipedia.org/wiki/Anne_Bancroft" title="Anne Bancroft"><span style="color: blue;">Anne Bancroft</span></a>, <a href="http://en.wikipedia.org/wiki/Dustin_Hoffman" title="Dustin Hoffman"><span style="color: blue;">Dustin Hoffman</span></a>, <a href="http://en.wikipedia.org/wiki/Montgomery_Clift" title="Montgomery Clift"><span style="color: blue;">Montgomery Clift</span></a>, <a href="http://en.wikipedia.org/wiki/James_Dean" title="James Dean"><span style="color: blue;">James Dean</span></a>, <a href="http://en.wikipedia.org/wiki/Marilyn_Monroe" title="Marilyn Monroe"><span style="color: blue;">Marilyn Monroe</span></a>, <a href="http://en.wikipedia.org/wiki/Julie_Harris" title="Julie Harris"><span style="color: blue;">Julie Harris</span></a>, <a href="http://en.wikipedia.org/wiki/Paul_Newman" title="Paul Newman"><span style="color: blue;">Paul Newman</span></a>, <a href="http://en.wikipedia.org/wiki/Al_Pacino" title="Al Pacino"><span style="color: blue;">Al Pacino</span></a>, <a href="http://en.wikipedia.org/wiki/Robert_De_Niro" title="Robert De Niro"><span style="color: blue;">Robert De Niro</span></a> and director <a href="http://en.wikipedia.org/wiki/Elia_Kazan" title="Elia Kazan"><span style="color: blue;">Elia Kazan.</span></a></span><!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin-top:0in;
mso-para-margin-right:0in;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0in;
line-height:115%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]--></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<br />
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><br />
<br /></div>saske505http://www.blogger.com/profile/16700172474152120201noreply@blogger.com2