textbook : Actor - Stage - Public
... showcase : R/G -- 2008
Acting Zones and Acting Areas
Directions instead "puppet theatre"
Actor's Text and Thier homework
Your (director's) preparations
... 2008 : "Movie to Stage" (in class scenes, as with acting2 students) -- no space, camera "eats" it!
Memory = spectator's apparatus.
Audience = common experience
Public = YOUR partners.
Tech Weekend = "editing the show"
Freud Page in Method Acting + Trinity Idea (Godhead) : The Godhead consists of three entities. The term God (divine) is applied to the Father (Rom. 1: 7), the Son (Heb. 1: 8), and the Holy Spirit (Acts 5: 3, 4). While three entities comprise the Godhead (state of being God), they are one in nature, purpose, and thinking (cf. Jn. 14: 8-11).
... The Holy Spirit was also present and active at the time of creation (Gen. 1: 2). The role of the Spirit at different times seems to have been that of creating order and system (Gen. 1: 1, 2, Jn. 14-16). [ The Holy Spirit, The Holy Ghost, The Word is the MIND OF CHRIST ]
ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
prof. Anatoly Antohin Theatre UAF AK 99775 USA (907)474-7751
Beckett in Directing Class script breakdown
Historical Time --
Cultural Time --
Ritual Time --
"The End of American Century": A Story of American Godot (National and Global)
Nietzsche and Jung: The Whole Self in the Union of Opposites by Lucy Huskinson; Brunner-Routledge, 2004 : Freud maintains that the unconscious consists of nothing but residues of the conscious mind that have become repressed. Simply put, this means that the value of the psyche is identified with consciousness or the ego. Nietzsche disagrees with this claim. Unlike Freud, Nietzsche recognizes that the unconscious exhibits contents that are wholly unlike those of consciousness and are ungraspable by the ego. A significant implication of this difference is that in Freud's model the unconscious has no autonomy, for it is simply a product of consciousness, or a container of its remnants. In Nietzsche's model, on the other hand, the unconscious is an autonomous entity that can function in opposition to consciousness. The Freudian understanding of the unconscious reveals a rigid framework of rationalism that gives primacy to the ego, which is in contrast to Nietzsche's richer framework that recognizes other sources of knowledge considered irrational, such as emotion, imagination and intuition.
Synchronicity: C.G. Jung, Psychoanalysis, and Religion by M. D. Faber; Praeger Publishers, 1998 (?)
Local and Eternal
Subjective (dramatic) POV:
"Time likewise has a dual character in drama. The performer and audience exist together in chronological time. But the actor as character exists in dramatic time..."
Elements of theatrical production > Space and time > Real versus illusory time : part 4. Public
Illusion of place
In dramatic production the magical property with which a performing area is invested is augmented by the fictional action of the drama. The stage becomes another locale by an act of imagination undertaken by both actors and audience...
We should talk about illusion of time...
Editing Page from film directing class.http://www.lawoftime.org/law/subjective.html Subjective - Objective View: The Nature of Time, Vertical Time Horizontal Space
SPACE-TIME [The revolution of modern physics began to be reflected in the Encyclopśdia Britannica in the Twelfth Edition (1922), with James (later Sir James) H. Jeans's article on "Relativity." In the Thirteenth Edition (1926) a wholly new topic, "Space-Time," was discussed by the person most qualified in all the world to do so, Albert Einstein. The article is challenging but rewarding.]
Albert Einstein: "All our thoughts and concepts are called up by sense-experiences and have a meaning only in reference to these sense-experiences. On the other hand, however, they are products of the spontaneous activity of our minds; they are thus in no wise logical consequences of the contents of these sense-experiences. If, therefore, we wish to grasp the essence of a complex of abstract notions we must for the one part investigate the mutual relationships between the concepts and the assertions made about them; for the other, we must investigate how they are related to the experiences..."
To an accelerated entity, time becomes subjective. If your thinking speeds up, everything else subjectively slows down. subjective time
Virtual Theatre (old)Godot continues...
Waiting for Godot: A Synchronicity of Opposites :
The Subjective Imperative of Voice: Reflections on Samuel Beckett
Random Notes on Dramatic Space: Dramatic space is a multi-faceted term. Ludwig Wittgenstein applied a spatial-temporal aspect of "language-games" to Linguistics, while Rudolf Laban, a developer of a pioneering dance notation called Labanotation, talked about Space Harmony in concordance with Choreutics, Eukinetics and ballet. Dramatic space, according to Laban, is established by an equilibrium between the orientation of the dancerís body to the orientation of a surface. In other words, dramatic space is an interaction between all the participants of a performance; at the same time itís a relationship of these participants to their ambiance, whether that ambiance is represented by nature or by physical man-made structures.
... In conclusion, I can say that composition canít exist without dramatic space. Without framing and referencing the work of art, one canít compose. Dramatic space is a multi-layered structure whose radiant carcass is mutually permeable by artist and his/her art. Dramatic space is where a stage is. In music, painting and dance dramatic space is where we create it; itís where we are.
Spectator, Audience, Public -- differences.
http://www.britannica.com/eb/article-42011 Elements of theatrical production > Space and time > Real versus illusory time
"Golden Triangle": actor1 -- spectator -- actor2 [ biomechanics ]
reactions of two actors on stage through the public only...
Nor a wall (4th Wall), neither a bridge?
How to show drama ?
©Film-North * Anatoly Antohin.