Intro to Theatre

Introduction to Theatre Arts

 Ch. 3 THE ACTOR- KNOW THESE KEY CONCEPTS AT LEAST : 1. Two Noons of Acng (External vs. Internal) a. External (technical) – ﬁrst imaging how his or her character should walk, talk, and behave, and then by imitang these imagined behaviors when performing the character. b. Internally – concentrang not on imitang behavior but actually experiencing it, and thereby “living the part” while performing it. c. Both are needed to have the best acng. 2. Inﬂuence of Famous Acng Teachers (and the names of those teachers) primarily from your text a. Ion and Socrates – acng from the inside and outside to create best character b. Quinlian – prized true moon but also raonal control c. Konstann Stanislavsky – intensely realisc and convincing acng style i. Living the life of his or her character on stage. ii. Lee Strasberg, Richard Boleslavski, Maria Oupenskaya 1. The Method 3. The process involved in becoming an actor a. Development of the actor’s approach to a role (creang the character’s inner life) b. Developing the actor’s vocal and physical instrument (concerning virtuosity) 4. Basic work expected of an actor a. Vocal and speech lessons b. Control of body movement c. Psychological/imaginaon and the ability to use it d. discipline 5. Origin theories from lecture a. Religion b. Ritual and or myth c. storytelling 6. Types of courses oﬀered in theatre from the University 7. Be sure to review notes from lecture about the actors income very lile, can vary depending on type of actor (star or not) 7,000 8. Review notes on the presentaons and work of our guest actors in lecture  ii. Ch. 4 THE PLAYWRIGHT- KNOW THESE KEY CONCEPTS AT LEAST : 1. The Qualies of a Fine Play a. Credibility and intrigue i. Credibility – the audience-imposed demand that requires a play’s acons to appear to ﬂow logically from its character, its situaon, and the theatrical context the playwright provides. 1. Actors maintain consistency within themselves ii. Intrigue – the quality of the play that makes us curious to see “what happens next” 1. Called suspense iii. INTRIGUE DRAWS US INTO THE WORL DOF THE PLAY, CREDIBILITY KEEPS US THERE. b. Speakability, stageability, and ﬂow i. A line should be so wrien that is achieves its maximum impact when spoken 1. Audial shape of dialogue ii. Stageability – requires that dialogue be wrien so it can be spoken eﬀecvely on stage iii. Together these ﬂow not stumble iv. Flow – connual stream of informon c. Richness i. Leaves us with sasfacon 1. Richness of detail

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