THE ACTORChapter 4

What is acting?

It is the oldest of the theatrical arts. THESPIS, the first actor, was the author of the plays in which he appeared.

From his name comes the word THESPIAN, another word for actor.

Acting is a public art

The average theatregoer can name many actors

Two notions of actingThe actor “presents” to the audience in a form that we call “presentational.” It is also called “external” or “technical” acting.

The second notion emanates from somewhere “inside” the actor. The actor works honestly and effectively to “live the life of the character.” To feel the emotions. It can be called “representational.” Actors of this school are often “method actors” named for a “system” devised by Konstantin Stanislavski.

Konstantin Stanislavski1863-1938

Lee Strasberg

In the United States, the “method” was made popular by the actor Lee Strasberg

at the Actors Studio in New York City.

Presentational actorsRepresented by classically-trained

British actors

Internal vs. externalHas been long debated

See text (page 78) for examples from the classical theatre including a passage from Socrates

In the 18th century, French encyclopedist Denis Diderot discussed the differences in his essay “The Paradox of Acting”

At the Moscow Art Theatre, Stanislavski taught that motivation gives meaning to action. And, as such, plays have subtexts the actor needs to understand.

Stanislavski’s legacyAlmost all American teachers of acting

pay homage to Stanislavski and his “theories” of acting...

Famous American actors trained in the method include...

The actor as virtuosoGreatness in acting, like greatness in

almost any endeavor, demands a superb set of skills

In order to play HAMLET, for example, the actor himself needs to embody the genius of the character.

To achieve this virtuosity, the actor must possess two features

1. An expressive voice

2. A supple body

Magnificent voices

James Earl Jones Glenn Close

Splendid supple bodies

Bill Irwin Meryl Streep

Celebrated actors today

MagicBeyond conviction and virtuosity, great

actors possess “presence” or “magnetism” or “charisma”

BECOMING AN ACTORActor training takes place in colleges,

universities, conservatories and private and commercial schools

Professional actors belong to an actor’s union

The actor’s instrument

The selfMindMettleMetabolism

Training is both physical and psychologicalIn France and Japan, actors are trained

through apprenticeshipsAll training requires practice, not simple

book learning

PHYSIOLOGICAL TRAININGVOICE AND SPEECH

VOICE: breathing, phonation, resonanceSPEECH: articulation, pronunciation,

phrasingPROJECTION

MOVEMENTDance, mime, fencing, acrobaticsRelaxation, control, economyStrength and endurance

PSYCHOLOGICAL instrumentImagination, and willingness and ability to use

it in the service of art, are major components of the actor’s psychological instrument

1. Make the artifice of the theatre real (flats and platforms become streets or mountains)

2. Place the self in the imagined world of the play (Really fall in love with your acting mate)

3. Characterize the role with uniqueness and life (liberate the actor’s imagination)

Discipline

The fourth and final aspect of the actor’s psychological instrument1. Follow the working conditions2. Collaborate with fellow artists3. Be on time to calls4. Stay well and healthy5. Train your instrument in exercise or

class6. Memorize parts before they are due7. Work vigorously to develop craft

Discipline?

Discipline?

THE ACTOR’S APPROACHStanislavski described the actor’s

ZADACHA which also translates to mean objective, task, goal, victory or intention. Each character has a primary goal and several minor goals in the play.

Secondly, the actor develops TACTICS necessary to achieve the GOALS

Finally, the actor must understand the style of given circumstances of the play and apply it to the role

Cohen’s GOTEGOAL. What the character wants

OBJECT (Other). Who does the character want it from?

TACTIC. How does the actor get it?

EXPECTATION. Why does the actor expect to reach the goal?

THE ACTOR’S ROUTINEThe audition

REHEARSAL

Rehearsal processPlays are in rehearsal for several

weeks

At rehearsal, actors learn lines and blocking

Explore the characters motivations (goals)

Memorize

Work on the external elements of timing and delivery

The most creative time for the actor

Patrick Stewart, Simon Callow & Ian McKellan

Performance

Patrick Stewart in Macbeth

...what the theatre is all aboutThe excitement of live performance

Philip Seymour Hoffman in DEATH OF A SALESMAN

The shift from rehearsal to performanceNow, the actor is aware of his audience...

The audience affects the actor’s timing, delivery and energy

Stage vs. film

Stage actors must re-create their performance over and over. Each actor develops ways to adapt to the different demands of various media

Dame Judi Dench in film and onstage.

The actor bows

Acting is an art...Actors are privileged people, they get

to live the lives of saints, sinners, lovers, rulers, the great and the meek

They get to reenter the wonder of childhood and play

They get to fantasize freely and get paid for it

Many want to act, but true acting is a calling

The addicted actor is probably not very good

Actors must know more than acting, they must represent the human and therefore must understand humankind

The proper study of acting is life: common sense, observation, perception, tolerance and understanding

Actors need to possess training, business acumen and a realistic vision

Very few are capable of a professional career in acting. Those that do possess great talent, skill, persistence, fortitude and luck

ESU Summer Theatre