After the Break : Actor's Chronotope

Mon, 17 Mar 2008 22:05:10 GMT

Part IV. The World of the Play [ using R/G are Dead ]

Chapter 9. Comparison
Chapter 10. Rules

-- creating subjective time and space ( the only in forms of PERSONAL chronope the dramatic experience of spectator could exist ).

http://filmplus.org/thr/space.html + http://filmplus.org/thr/time.html

Character's time/space => Role

http://filmplus.org/biomx/chronotope.html

ID -- http://act.vtheatre.net/ID.html : Identification, why "I = Character" (Method) is so important...

Samples -- Modern Drama vs. the classics ("masterpieces" and current drama, film scenes).

Examples?

"How to use your partner" -- "act in pauses" + ...

acting is reacting

[ Book of Spectator : Spectator as Actor ]

http://biomechanics.vtheatre.net/3.html

and subdirectory for part 3 (lessons 9, 10, 11, 12).

Midterm Scene work in class

Mon, 25 Feb 2008 18:08:15 GMT

Miss Julie, homework -- climatic scene.

In class -- new: finale for analysis.

from Acting 2 webpages :

Q & A :

The conclusion is catastrophic.

The catastrophic conclusion will seem inevitable.

It occurs, ultimately, because of the human limitations of the protagonist.

The protagonist suffers terribly.

The protagonist's suffering often seems disproportionate to his or her culpability.

Yet the suffering is usually redemptive, bringing out the noblest of human capacities for learning.
The suffering is also redemptive in bringing out the capacity for accepting moral responsibility.

... .--Goodbye! [Leaves Kristine]

JEAN. Damned bitch!--And all this for a siskin!--

MISS JULIE [dully]. Oh, never mind the siskin!

--Do you see any way out of this? Any end to it all?

JEAN [ponders]. No!

MISS JULIE. What would you do in my place?

JEAN. In yours? Wait, now.--A woman of noble birth who'd-sunk? I don't know--or yes, maybe I do.

MISS JULIE [takes the razor and makes a gesture]. Like this?

JEAN. Yes.--But I wouldn't do it--mind, for there's a difference between us!

MISS JULIE. Because you're a man and I'm a woman? What difference does that make?

JEAN. Precisely that--the difference between a man and a woman.

MISS JULIE. I want to. But I can't.--My father couldn't either, that time he should have done it.

JEAN. No, he was right not to. He had to be revenged first.

MISS JULIE. And now my mother's taking her revenge again, through me.

JEAN. Have you never loved your father, Miss Julie?

MISS JULIE. Yes, very much. But I've hated him, too. I must have done so without realizing it. It was he who brought me up to feel contempt for my own sex, as a half-woman and half-man. Who's to blame for all this? My father, my mother, myself? Myself? But I have no self of my own? I haven't a thought I didn't get from my father, not an emotion I didn't get from my mother, and this last idea--that everyone's equal--I got from him, my fiancЁ¦--which is why I called him a swine! How can it be my own fault, then? Shift all the blame on to Jesus, as Kristin did?--No, I'm too proud for that, and too intelligent--thanks to my father's teachings--and all that about a rich man not getting into heaven, that's a lie-Kristin's got money in the savings-bank, she won't get in at any rate! Whose fault is it?--What's it matter to us whose fault it is; I'm still the one who'll have to bear the blame, suffer the consequences.

JEAN. Yes, but-- -- --

There are two shrill rings on the bell; MISS JULIE jumps to her feet; JEAN changes his coat.

JEAN. His Lordship's home!--What if Kristin-- -- --

Goes to the speaking tube; knocks and listens.

MISS JULIE. Has he been to his desk yet?

JEAN. This is Jean, sir! [Listens. Note that the audience cannot hear what the COUNT says] Yes, sir! [Listens] Yes, sir! At once! [Listens] At once, sir! [Listens]--Yes, sir, in half an hour!

MISS JULIE [extremely anxious]. What did he say? For God's sake, what did he say?

JEAN. He wants his boots and his coffee in half an hour.

MISS JULIE. In half an hour, then!--Oh, I'm so tired; I can't bring myself to do anything, I can't repent, can't run away, can't stay, can't live--can't die! Help me, now! Order me, and I'll obey like a dog! Do me this last service, save my honour, save his name! You know what I ought to do, but can't, just will me to do it. Order me!

JEAN. I don't know why--but now I can't either--I don't understand--it's just as if this coat made me--I can't order you--and now, since his Lordship spoke to me--then--I can't explain it properly--but--oh, it's this damned lackey sitting on my back!-I believe if his lordship came down now and ordered me to cut my throat, I'd do it on the spot.

MISS JULIE. Then let's pretend you're him, and I'm you!--You acted so well just now, when you went down on your knees-then you were the aristocrat--or--have you never been to the theatre and seen a hypnotist? [Jean gestures assent] He says to his subject, 'Take this broom!', and he takes it; he says, 'Sweep!', and it sweeps*-- -- --

JEAN. But then the subject has to be asleep.

MISS JULIE [ecstatically]. I'm already asleep--it's as if the whole room were full of smoke; you look like an iron stove, dressed all in black with a top hat--your eyes glow like coals in a dying fire--and your face is a white spot, like ashes--[The sunlight has now fallen upon the floor, and is shining on JEAN]--it's so nice and warm-[She rubs her hands as though warming them before a fire]--and so light--and so peaceful!

JEAN [takes the razor and places it in her hand]. Here's the broom! Go now, while it's still fight--out to the barn--and. . . [Whispers in her ear

MISS JULIE [awake]. Thank you. Now I'm going to rest. But just tell me one thing--that the first may also receive the gift of grace. Tell me, even if you don't believe it.

JEAN. The first? No, I can't!--But wait--Miss Julie--now I know!--You're no longer among the first--you're among--the last.

MISS JULIE. That's true--I'm among the very last; I am the last. Oh!--But now I can't go--Tell me to go, just one more time!

JEAN. No, I can't now either. I can't!

MISS JULIE. And the first shall be last.

JEAN. Don't think, don't think! You're taking all my strength away too, and making me a coward--What's that? I thought the bell moved!--No! Shall we stop it with paper?-- --To be so afraid of a bell!--Yes, but it's not just a bell--there's somebody behind it-a hand sets it in motion--and something else sets that hand in motion--but if you stop your ears--just stop your ears! Yes, but then he'll go on ringing even louder--and keep on ringing until someone answers--and then it's too late! Then the police will come--and then. . .

Two loud rings on the bell.

JEAN [cringes, then straightens himself up]. It's horrible! But there is no other way!--Go! [MISS JULIE walks resolutely out through the door]

Curtain.

Acting 2 : Biomechanics

Mon, 18 Feb 2008 21:19:43 GMT

THR221 -- part 2. Episodic [ Brecht/Meyerhold ] http://biomechanics.vtheatre.net/intro.html
textbook -- David Kaplan Gest vs. Inner Gesture
http://biomechanics.vtheatre.net/episodic.html

Brecht in directing class : http://direct.vtheatre.net/brecht.html

new page(s) @ http://google.com/group/acting2

scenes in class (midterm preparation) : Mikado, Shrew, The Importance of Being Earnest -- http://biomechanics.vtheatre.net/midterm

Actor & Director (self-directing) : http://biomechanics.vtheatre.net/2.html

Homework (google calendar) -- Kate - Petruccio first scene [ 5 Ws, floor plans ]

anatoly.org

Web-Theatre : director: acting

After the Break : Actor's Chronotope

acting is reacting

Midterm Scene work in class

Acting 2 : Biomechanics