Deck 9: Image Maker: the Actor

Question 1

The 20^th century has seen major changes in the training of actors. Discuss these changes, including at least one example of technique, voice and body training.

Answer 1

The 20th century has indeed brought about significant changes in the training of actors. One major change has been the shift towards more diverse and comprehensive training techniques, focusing not only on traditional methods but also on incorporating modern innovations.

One example of a technique that has gained prominence in actor training is the Meisner technique. Developed by Sanford Meisner, this approach emphasizes truthful and organic reactions in performance, as well as the importance of listening and responding in the moment. This technique has become popular for its focus on emotional authenticity and connection in acting.

In terms of voice training, the Linklater technique has made a significant impact. Developed by Kristin Linklater, this approach focuses on freeing the natural voice through breath, resonance, and vocal exercises. It aims to help actors develop a strong and expressive voice that is connected to their emotions and physicality.

As for body training, the Lecoq method has become influential in actor training. Developed by Jacques Lecoq, this approach emphasizes physical expression and movement, drawing from techniques such as mime, mask work, and clowning. It encourages actors to explore and embody a wide range of physical characters and emotions through movement and gesture.

Overall, the 20th century has seen a shift towards more holistic and diverse training techniques for actors, incorporating a wide range of approaches to develop well-rounded and skilled performers. These changes have not only influenced the way actors are trained but also the way they approach their craft, leading to more dynamic and authentic performances on stage and screen.

Question 2

Stanislavski's "Method" approach to acting is still probably the most used in the training of actors. Describe this "method" and give particular attention to "the magic if" and "emotional."

Answer 2

Stanislavski's "Method" approach to acting is a comprehensive system for training actors, focusing on creating realistic and emotionally authentic performances. Central to this approach is the concept of "the magic if," which involves actors asking themselves, "What would I do if I were in this situation?" This helps actors to connect with their characters on a deeper level and to bring a sense of truth to their performances.

Additionally, the "Method" approach places a strong emphasis on accessing and expressing genuine emotions. Actors are encouraged to draw on their own personal experiences and emotions in order to fully embody their characters and create convincing portrayals. This can involve recalling past experiences, tapping into deep emotions, and using sensory and emotional memory to bring a sense of authenticity to their performances.

Overall, the "Method" approach to acting is still widely used because it provides actors with a systematic and practical way to approach their craft, enabling them to create performances that are emotionally compelling and truthful. By using "the magic if" and tapping into genuine emotions, actors are able to fully immerse themselves in their characters and bring a sense of realism to their work.

Question 3

Although acting in film and theatre demands much of the same discipline, preparation, etc., there are many differences that must be taken into consideration by the actor. Write one or two paragraphs describing these differences.

Answer 3

Although acting in film and theatre share similarities in terms of discipline and preparation, there are significant differences that actors must consider.

One major difference is the performance space. In theatre, actors must project their voices and movements to reach the entire audience, which may require larger, more exaggerated gestures and expressions. In film, the camera can pick up subtler emotions and movements, allowing for a more naturalistic performance. Additionally, the pacing of the performance differs between film and theatre. In theatre, actors must maintain a consistent energy level throughout the entire performance, whereas in film, scenes are often shot out of order and the actor must be able to adjust their energy level to match the specific moment being filmed.

Another important difference is the rehearsal process. In theatre, actors have the opportunity to rehearse for an extended period of time, allowing them to fully develop their characters and relationships with other actors. In film, rehearsals are often limited, and actors must be able to quickly adapt to the director's vision on set. Additionally, the technical aspects of filming, such as multiple camera angles and retakes, require a different level of concentration and focus from the actor compared to live theatre. Overall, while the core skills of acting remain the same, the specific requirements of each medium demand different approaches from the actor.

Question 4

The acting teacher that developed the "Foundation Technique" was

A) Stanislavski
B) Meisner
C) Strasberg
D) Mamet

Question 5

Thornton Wilder's Our Town

A) Was directed by Jerzy Grotowski
B) Restored lavish spectacle to the theatre
C) Reduced the theatrical experience to essentials
D) Was first produced in Grover's Corners

Question 6

Cicely Berry is best known for her work in the area of

A) Movement
B) Psychodrama
C) Voice
D) Dance

Question 7

The "large style" of acting fell out of fashion with the rise of

A) Surrealism
B) Realism
C) Absurdism
D) The apprentice system

Question 8

David Mamet and William H. Macy developed

A) The Practical Aesthetics Workshop
B) Improvisation
C) Mimetic Acting
D) None of the above

Question 9

Stanislavski compared his form acting to the "large style" as the difference between __________ and __________.

A) Seeming, being
B) Being, doing
C) Doing, being
D) Seeing, believing

Question 10

Approaching a role through the study of human behavior in all its outward forms is

A) Internal Belief
B) Affective Memory
C) External Approach
D) None of the above

Question 11

Anne Bogart and Tadashi Suzuki were responsible for the founding of

A) The Group Theatre
B) Saratoga International Theatre Institute
C) The Moscow Art Theatre
D) The Atlantic Theatre Company

Question 12

One exercise that helps the actor's concentration and opens their imagination is

A) Improvisation
B) Emotional Recall
C) Affective Memory
D) Magic As If

Question 13

Among the six elements in the "Viewpoints" actor training technique are

A) Shape
B) Character
C) Gest
D) Spectacle

Question 14

Technique and belief are the fundamentals of the actor's craft.

Question 15

Acting is not showing and narrating, but is, rather, illustrating and exhibiting

Question 16

Some of the actor's tools are costumes, makeup, and props.

Question 17

Laurence Olivier referred to acting as "mimical behavior."

Question 18

Anne Bogart's "Viewpoints" deal specifically with the actors' voice.

Question 19

To prepare for the role of Stella in A Streetcar Named Desire, Uta Hagen developed a series of sublimations.

Question 20

A "screen test" is the film actor's audition.