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| the professional training company of the U of A's school of theatre art. It stands for Arizona Repertory Theatre |
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| Why Play teater games in workshop? |
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- Learn each other's name
- Break though social inhibitions
- Become a cohesive, creative group |
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| the actor presents the outward, physical and vocal details of his or her character's emotions, without any personal emotional involvement |
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| the actor creates within him or herself the emotions and passions of a character he or she is playing. "Living the role" |
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| The actor disguises his everyday personality in the physical and emotional traits of the character he or she is playing |
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| The actor consistently plays a recognizable version of himself or herself |
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| strives to give the illusion of reality, as though the characters are living their lives unaware of the audience's presence |
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| Part of the representational acting, it is the imaginary wall between the actors and the audience, creating the illusion that audience is witnessing the play without the character's knowledge |
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| "breaks" the Fourth Wall, as actors turn and acknowledge the presence of the audience, addressing the audience directly. Often seen in musicals |
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| "The Illusion of the 1st Time" |
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| The goal of actors to present work as though it is happening before the audience for the very first time, despite the many rehearsals and repeated earlier performances of the same work. |
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| The Actor's Instrument is the Actor |
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Definition
| Unlike many other artists, the actor has only his body and his voice to convey his art to his audience, they are the main tool of his trade, and training the body and voice is essential to the effectiveness of an actor's work |
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| Physical training for actors typically includes |
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Definition
- Tumbling/gymnastics
- Dance/movement
- Stage Combat
- It can also include horseback riding and competitive sports |
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| the structural "central support." It includes the skull, vertebrae (spine), ribs, sternum, and hyoid bone. |
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| the mobile framewrk for the limbs. It includes the pelvic and pectoral girdles, and the bones for arms and hands, and legs feets |
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- Nasal passages
- Oral cavity
- Tongue
-Vocal folds
- Trachea
- Lungs
- Diaphragm |
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| Large muscle below lungs, which decends during inhalation, helping to draw air in, and ascends during exhalation, helping to push air out. Responsible for about 75% of breathing capacity. |
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| "Being Ready." Calm and alert, both physically and mentally, ready to act or react immediately and fully. |
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| Why should an actor warm up? |
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Definition
- Focus attentiona dn energy on the work at hand
- Precent injury to body or voice
- Prepare for heightened physical demands of a role |
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Definition
literally, "to throw out" one's voice to reach a large audience. Includes
- Controlled breathing
- A relaced, open throat, and
- Clear articulation |
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| an actor's interpretation of his dialogue, conveyed with clatiry to the audience |
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| Keen obsercation and objective analysis of yourself as you move through your scene work, and through our daily life. Takes in the physical, mental, and emotional states. It' all part of knowing and playing your instrument. |
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Audience or House
aka Auditorium |
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Definition
| Directions are from the audience's point of view as they face the stage - "house right" is on the same side of the theater as "stage left" |
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Backstage, including wings
aka "Offstage" |
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Definition
| area concealed from audience's view, by set of walls, or just by a curtain. It's the area actors enter from and exit to |
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| the areas on the right and left sides of the stage- like wings on a big house--ora bird |
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| High-ceilinged area over the stage where very large parts of the set are suspended by ropes and then lowered -- 'flown in' -- to the stage during set changes |
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| aka Onstage or the playing area |
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There are four types of staging
- Proscenium
- Arena
- Thrust
- Greek amphitheater
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| The traditional theater with an arched opening and a curtain between the house and the stage |
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| Seats completely surrounding the stage. Backstage is behind the audience |
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| Seats on three sides of the stage. This often includes a proscenium stage, with a playing area extended into the audience |
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| Often the "outdoor" style theater, low stage and semicircular rows of seats sloping up on a hillside |
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Right Up Left
Center
Down |
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| In the past, stages were ranked: high at the back, sloping down towards the audience |
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Stage Movement
aka "Blocking" |
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Definition
To set or decide upon the physical action for a scene
It covers all physical action onstage. Typically, it's walking from point A to point B. But lighting a cigarette, taking a drink, picking up the phone, any movement you create or the director assigns to you, for any given moment in a scene, is blocking |
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Definition
| To walk from one point on the stage to another |
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Term
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Definition
- Factor of Character
- Part of Plot (cocktail or poison?)
- Locale (Cold? Hot? Indoor? Outdoor?)
- Furniture
- State of Mind
- Sustain a Mood
- Style and Period of Play
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Definition
- Giving Focus: looking at something
- Taking Focus: Speaking
- Sharing focus: both people speaking, interchanging focus. Both looking at something together, both being in very close proximity
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| A shared one-quarter position |
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Definition
Turn out at a 45 degree angle to the audience to let them see you. Stand on the same plane as your partner, neither on a higher plane nor a lower one. |
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Definition
| is a way to successfully move up, down, or laterally across the stage and still remain open to the audience. |
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| Always within the logic of the scene, but move |
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To your partner. It’s as important, sometimes more important, than talking.
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| The Rehearsal: Playing Well with Others |
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Definition
Use time wisely
Arrive on time
Warm up
Homework- whatever you need to do to meet the needs of next rehearsal
Memorinzing lines and getting off book
Rehearse: Alot at first and eventually twice a week
Rehearsals should last an hour
Bring: notebook, script, character autobiographe. Water, props, and costumes
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Safe, big, no distractions
Anywhere that’s safe, that’s big enough, and allows you to focus on your work without distractions. Sometimes dorms are actually not useful, especially if roomies get involved |
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Definition
Blocking and Meaning of lines
Run stopwatch and make cuts
Memorize lines- drill each other
get on your feet
run scene with script in hand and decide where to move and when
find meaning in what you're saying
improvise |
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| How do we treat each other? |
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| Mutual agreement about action; mutual respect |
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Tactics
Commitment
Imagination |
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