RI Outline

Outline Notes

Introduction
Talk about the research question
talk about the implications
-method acting-
talk about the zoo story


BODY

• Method acting
• what is it
• who made it
• what was it first called
• why was it special
• Constantin Stanislavski

Building A Character by Constantin Stanislavsky

          A play is not complete until GENUINE human emotions are put into the characters. Words should not be forced through the actors, however, should be mixed into the thoughts of the characters. Feelings should be incorporated into what the characters are feeling/sayingAudience should feel an alternate feeling for the character and shouldn't be focusing on what the actor is doing in order to fit that role. (Actors should suffer, as they are the characters that they are representing and not themselves) (Eg. Don't wipe the sweat from your forehead)"It is only when our feelings reach down into the subtextual stream that 'through line of action' of a play or a part comes into being. It is made manifest not only by physical movements but also by speech: it is possible to act not only with the body but also with sound, with words."

• Meisner - the differences
  
  Acting should be based on how well you know yourself, and how well you know your character. Stella Adler's imagination on acting - grasped his attention as well - went against this theory. Meisner believes in repetitive warmups as practice. Unclear motives are key in order for actors to get used to the feeling of disorientation on stage, so that they are not themselves.
• Talk about Stella Adler

Acting is 'doing' - actually believe in what you are acting upon, as it is your character who is actually doing it.

• In order to get the idea and story of what the play is trying to get across to the audience, you must study the "social situations" of the play.
• You need to have a presence on stage - whether you are born with it or you act well enough to create it.
• In order to create a more imaginative mind, actors need to look for the specific details in the things that they perceive around them.
• Adler believes in a 'script in life' and that human growth as well as the growth as an actor is cohesively tied in with each other.
• Adler believes that scripts have lives of their own, once the actor has accepted their character.
• Actor's shouldn't isolate themselves from their bodies

• Strasberg
• Lee Strasberg would try to re-crete the term 'emotion' into something of his own
• Strasberg studied Stanislavski's work and applied his energy towards trying to figure out how actors could use emotion to their advantage on stage
• Since emotion seems faded sometimes due to time, he would make you remember the surroundings of the emotion (smell, taste, sound etc...)

Talk about the 'zoo story' THROUGH THE EYES OF ALL FOUR PRACTITIONERS

What things would they do differently?

CONCLUSION

INCORPORATE THE PLAY INTO THIS AS WELL