... The idea of introducing film/video directing within Theatre directing class didn't work. No room for it -- go to directing.filmplus.org. The nature of Stage and Screen are too different for intro course to cover.

... 2009: CALIGARI -- from movie to stage

What do I want from this show [production]?

Non-verbal spectacle.

Visual = Languages of Theatre

Theatricality

meyerhold.us

group/stagematrix

images

... screen semiotics : matrix


THR331 * Directing: Laws, Rules, Principles * Topics : Stage Event = Subjective Time + Dramatic Space * amazon.com *

TOPICS: drama + comedy + postmodern + time + space + show + spectacle + audience + theory + public +
Film Directing 101 (part 2. Spring 2006 class)
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Use film directing webpages for THR331 Fundamentals of Directing @ Filmmaking 101

"Staging" (mise-en-scene) on stage and on the set...

Screen : Matrix & Film Acting

As we shift from the nineteenth century into the twentieth century, theatre begins to lose its position as a popular art form (it is subsequently replace by film and television).
Theatre became a more intimate and elite experience and the popular appeal was limited.

3.12.04. Folks, this is a new page -- and write in the new texts only when they are new to me. Who knows how long it will take for "acting with the camera" to mature. I still try to figure out what subjects and issues belonng to this (stage directing) directory, which -- to film directing, which -- to method acting pages, and so on.

NTL, the new six pages on film acting (see the menu on the right) will be developed by the end of this year. Anatoly

bergman-act

I will try to keep the order of the film acting pages: Acting I, II and III classes (one week, two and four of workshops). Film Directing 101: Actors page is the gateway. This page in stage directing is the one to read before read anything about directing camera.

In most film textbooks acting is a part of "mise-en-scene" -- this is confusing. In stage directing it's not. I rather stay with the theatre theory. Movement of actors (blocking) is only a part of acting, sort of "given surcumstences" (framing the reactions to other characters, set, light and etc.)

[ for now -- notes only: correlation of stage directions (9 squares) and screen directions.

Axis and vector (see BM II pages): tension, action, conflict.

Action and re-action on stage and screen. The idea of "cut"...

Levels (voice, position) and framing (distance to the camera). ]

* Stage event and screen event * Mass of event. * Gravity of event * Intensity * Inertia * The Event Theory * (see Dictionary for terms and definitions).

Bergman

Bergman - Film Analysis
Five new pages on Film Acting: Screen (331 Directing), Actors (Filmmaking 101), Video (biomechanics.vtheatre.net), Film (BM for Camera), Camera (Method Acting) * (2004) * heights Links? To shot, cut, camera pages? They need to be ajusted for "acting connections" -- all my ebooks are for actors, but only now it becomes abvious. I am tempted to write a minifesto! 'The Acting Age' -- only now we arrived to "the whole world is a stage": no wonder that actors became celebrities and heroes. "The Society of Spectacle" asks for everybody to learn acting. Everything is transparent and therefore public...

Alas, this is for theatre theory pages... (see The Book of Spectator and Virtual Theatre, Theatre of One).

Camera will teach you how to act on stage!

... Check out POV: Language of Angels (my nonfiction).

closeups Film and theatre terms need to merge, acting asks for it (not camera). Screen is a different medium, but uses the same material -- ACTOR.

Good actors are the ones who know how to re-ACT (very flexible, discipline and constant improv). Film shoot is extremely limiting for actor, one must develop hyper-sensitive ability to reflect the changes.

NB. I don't think that majority of actors understand the very idea of montage (or even Kuleshov Effect). What we can do if they never heard of intertextuality! Talent? Talent my foot! No wonder that computor graphics and aminals replaced humans in commercials!

...

[ more later ]


PS

Again, consider camera as your partner (the stage "golden triangle" principle works here as well: actor1 - audience -actor2). Since the shooting is a segmentation a priori, change the technique going from WS/LS to CUs. Remember the fucos exerc. -- when camera is close, forget about everything, but face -- and think how could you extress it all in one place only. Redesign your Actor's Text.

Homework

Your audition monologue rewritten into shots.

I recommend 3 Sisters (see Characters Pages).

NB

variable
Next: film-north
@2004 film-north *

Acting in Film Analysis class *

Film Acting Pages: actors

2004: I do not know when I will have time to write about "acting in movies" -- here is a short list of actors I refer to in Film Analysis class.

Acting is a part of "mise-en-scene" in many textbooks (need definition).

Maybe I will put my comments to the titles and actors later. Anatoly

PS. Watch the movies on your own, we don't do in class.


Film Acting

Nicholson There a short list of titles I show the segments in class, when we get to Acting; here are the samples.

There are other movies with Jack Nocholson could be recommended (use Amazon suggestions).

[ I am not mentioning European film actors here. ]

See Acting I, II, III and Film Directing pages.

[ long list @ film.vtheatre.net ]

I have no pages on individual actors. Only film directors -- Eisenstein, Tarkovsky, Bergman, Kurosawa, Fellini (Film-North).

[ updates ]

FrenchConnection

Taxi Driver

Woolf

Brando

GlenRoss

Dog Day Afternoon

filmschoolonline.com

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2006 by vtheatre.net. Permission to link to this site is granted.

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