REALISM
Stanislavski 1863-1938. Russia
7TH August
Focused on how to find motivation within a character's action; something very specific of Realism, particularly Stanislavski. Super objective of the scene; what is ultimately driving your character's motivations. Practised everyday tasks eg making tea or washing hands whilst narrating every step to get used to WHY is your character doing things. Really understand the character you're playing: Who Am I? What time is it? What surrounds me? What are my given circumstances? What are my relationships? What is my objective? What are my obstacles? What is my action? What is my super objective? (of a scene or beat in the text) What is my through line of action? |
EPIC THEATREBlackboard, showing text to audience that outlines the central mood of the performance.
Signs Chalk |
THEATRE OF CRUELTYArtaud thought that society and the world of theatre had become an empty shell. In the Theatre of Cruelty, he was trying to revolutionise theatre - figuratively burn it to the ground so that it could start again. He was trying to connect people with something more primal, honest and true within themselves that had been lost for most people.Artaud describes Theatre of Cruelty being not in the sense of violent behaviour, but rather the cruelty it takes for actors to show an audience a truth that they do not wish to see.
Theatre Of Cruelty workshop
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