By Nick O'Brien
Theatre in Practice presents scholars with all the ‘must have’ Drama abilities required for A-Level, overseas Baccalaureate, BTEC and past. sensible, step by step workouts and diagrams provide entry to the most important figures and methods imperative to drama, including:
- Stanislavski, Brecht, Lecoq and Berkoff
- devising theatre
- rehearsing and acting monologues and duologues
- how to strategy directing a play
- improvising.
Each bankruptcy deals recommendation for either scholars and academics, with notes and follow-on routines excellent for person examine and perform. Written by way of experts with vast adventure top workshops for the 'post sixteen' age-group, Theatre in perform is a radical and inventive source that speaks on to students.
Read Online or Download Theatre in Practice: A Student's Handbook PDF
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Additional info for Theatre in Practice: A Student's Handbook
Sample text
This exercise is designed for you to use again and again. So, before every performance or every rehearsal, you can start to get yourself into the right state of mind to work on your character. After relaxation, we find it easier to focus and hold our attention on our character. Remember, Stanislavski’s system is there to help you, so lie back, relax and let your acting improve. Notes for the teacher This exercise is a must-do exercise for early on during a unit on Stanislavski. It highlights just how important relaxation is for actors and how it can benefit them as they start to use all the different areas of the system.
Did you allow the circumstances to feed into the action? Did having an action help you to know what to think and do in the circumstance? Notes for the student For those of you that have never done an action improvisation before, the best thing to do is put yourself within the circumstance, think of your action and go for it, and then evaluate what happens afterwards. Stanislavski wanted actions to be psychophysical – a combination of what we are thinking and physically doing. Think about whether your actions were more psychological or more physical so that, in the follow-on exercise, you can start to redress the balance.
Cast the parts and tell the students that they are going to go away to research and then start to create their characters. They will need to use their imaginations to create the given circumstances and the pasts of their characters. They will need to work out their characters’ super objectives, germs and tempo-rhythms, and decide on their objectives and actions within the circumstances. Ask your group to improvise the minute leading up to the painting and then freeze in the exact position of the painting.