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SZÍNÉSZKÉPZÉS MÁSKÉPP! - THEATRE AND DEATH 4.
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 THEATRE AND DEATH

 / Part Four /


 Continuing the argument, due to a logical answer to the question posed earlier as to whether the actor's death could take from acting out the experience necessary.
Of course, not elsewhere, as the subconscious!
After all, if we accept that the ancient brain centers in all of human history occurred in the same sense is found, then how could we leave out of this experience of death!
After all, the history of homo sapiens death and deadly series of dangerous situations ...
To this we add the beginning of this book already mentioned fact that the theater establishment, the death fear, death is overcome or at least consciously dampen demand from its roots, you can see how big a mistake in the modern theater, when he was about the effect is the development of more accurate to say it!
A death resulting from the conflict resolution problem, acting out the possibility of psycho-technical practices in the Stanislavsky is found.
I believe that some modification and further development of this paradox can be eliminated permanently!
In order that the reader is to be understood, how manifest changes that I felt it necessary, is not known to be the first master the essence of psychotherapy techniques ...

 Stanislavsky PSYCHO TECH


 "To the actor's sizes to hysterical people, it only means that a greater proportion of the autoszuggesztiót alone can realize the vision to recall the Freudian conversion symptoms of the carnal mind shift achieved - is to their own endowments. It then needs to improve and dominate. "- Written by Pavlov, very aptly.
Stanislavsky was aware of this, when the art of theater has announced the essence of the liberation of the unconscious conscious program, and practice has developed a system to ensure that all the actors enough "to develop and dominate you."
This system is called the exercise techniques in brief psychotherapy!
The Master - more than fifty years after the discoveries of modern psychology - it is formulated with full clarity the need for mobilization of unconscious art.
"Our most important task of psychotherapy technique that is well-being and create a state of mind in which nature itself initiated by the unconscious process of creation."
The actor's work in his book also gives a more detailed explanation as to what is happening, how the process starts in the moment when the hidden subconscious memories and feelings we move.
"Strive always to get to the point where the internal states of all elements of the mind moving itself to the main action is not dramatically, in an indicative way, but normally, humanly can and it works ... When this happens, the actor's mental and physical apparatus - public works Despite the specific circumstances - is working normally, according to the laws of human nature, so completely, as in real life. "
Again, we find that Stanislavsky operating under the laws of human nature, its spirit was born the only uncredited acceptable.
Whole psycho-technical system to achieve this has created a form that carried out training exercises with the actors in each case targeting the subconscious.
So much so that it was important to his actors, without delay, as soon as possible trying to reach this state!
Concludes that there is not really worth the student should be allowed on stage - but the actors have long been on the pitch either! - Until you become acquainted with this form of transfer of the work, until you feel the feelings, which in this case fall victim of invisible power over actor!
Writes:
"The starting actors, who are the first steps to make the world a significant planks, preferably immediately, to try to communicate to the subconscious! From the very first time to this endeavor: the elements and the internal status of the work on stage, in every practice and etude "
He was attacked a lot because of this, especially for those who are already considered superfluous to the whole "psycho-technical mumbo jumbo," but they also had reservations about who to stand by the method.
Most of the danger brought to the attention of the Master, a young inexperienced spot prey at a time when - untrained hands - trying to penetrate the deepest soul that lejutva then there will never release the feelings experienced.
Antonin Artaud thus warned of the danger:
"The actor, once he throws his own rampage, infinitely more courage / perseverance, daring held / are required in order to prevent his committing a crime such as murder was committed to ..."
Vekerdy ​​Thomas was dealing with this problem, namely - as is the psychological side, close to the theater - enough detail.
"The actor is taking the flavors of the same personality, manipulating these parts, but when you need to check a unique whole-as well, say this: the health of the individual. Yourself ... If the individual is disturbed - or, if the split personality is not there behind it all: state of the patient image to go. Community like crazy. "
He later returned to this problem:
"... Suggestive of this condition, however, must still be over a waking consciousness - form a third, who plays the actor's body and soul, and brought the vision into shape ... This is the actor's innermost, individuality intact. The crazy and obsessive identification with the form, who include missed and who will change him - the actor since has absorbed, and may change as the form requires, however, self-consciousness and common sense of a corner of remains out ... If you figure that the third , is absorbed by the actor's consciousness - well, you go into a Japanese actor on the stage in hara-kiri. "Stanislavsky was ready to start reflecting on the criticism, and as always, if something was criticized ideas, re-chewed through his psycho-technical elements of the potential dangers of.
Finally, the following conclusion:
"... Whether good or not, when they terminate their power in the first stage, a feeling that real life has never experienced?
Well, it depends on what these feelings. For example, suppose that the actor playing Hamlet, the last act of a sword, and fly at his friend and his first feeling invincible thirst for blood, which was previously unknown.
Assume that the same sword, blunt weapon supplies, and that ultimately will not shed blood, but a nasty brawl broke out, which is due to be released before the time the curtain, and disciplinary action will be the case-file.
These so-called primary emotions, which are desirable in spite of the foregoing on the stage because they are direct, strong, rich colors.
In this form it is highly desirable for the stage, and be happy when we meet with such. Appear just as frequently, sharpen the truth of the passions that most of us are making estimates.
The surprise, which lies in the primary sense, the actor poses for an irresistible force stimulating ... It's every actor's dream: the best way to play. However, it does not follow that conscious emotional memories, recurring memories of the importance of the need to belittle.
On the contrary: they love, because only through them can affect to some degree of inspiration. "
The Master came to a similar conclusion, then, as critics, at least in the sense that if the first actor to be some kind of an unprecedented feeling of the soul, then from serious complications and even accidents can be. He adds, however, that this is only true if all that happens on stage, during a lecture! There is no possibility of quick on-line corrected!
However, it also states that these phenomena are in fact a positive effect on the actor's creative ability and the other works!
Finally, draw the conclusion that the existing emotional memory, stored emotions, of course, much more reliable and more usable! Therefore the later sought always to be there all the primary sensation as feeling is forward integration of the emotional memory of an actor, then from there to save them again, we were already losing their principal.
Lots of trial, a lot of psycho-technical training practices turned the energy of this goal ...
Stanislavsky disciples of the creative freedom of will to focus on value. The focus is based on imagination and fantasy, which the Master of the actor called the two most important weapon.
First glance might not really clear what is the difference between the two concepts.
Imagination to understand an actor's ability, which can re-create previously experienced emotions and impressions.
The fantasy is to help you if you have a need to recall feelings and moods, which are not their own experience.
A fantasy but there is no easy task!
After all, it is obvious that someone who has never been jealous or in love, will hardly be convincing Othello or Romeo costume.
So to help the imagination, whether physical or psychological means.
People still under discussion - even among those who unreservedly accept the legitimacy of psychotherapy techniques - that the physical and psychological tools help better the fantasy.
Master Zeami's view, the primary role of psychological tools.
"First, the figure within the transform, and then moves to the present.
Man is always first identify with the figure who was depicted intend and then act up to the vision that ... If you are angry, as occurs, a lot of strength to his heart kept, like a hand squeezing fist, then this effort to let the body dry, and then the functional relationship of this play.
All other Notation is striving to become a figure within the respective first and only then do his deeds! "
Vekerdy ​​- psychological reasons, of course - is more the movements, the physical forms of primacy and efficacy determined.
"... With the form of transformation, to bring to life the vision to help move!
So on the one hand the transformation can result in the consequence of a level playing shape, but on the other hand: the movement, well done to help move the transformation. "
In my opinion, this is a totally unnecessary dispute still exist!
Because both forms can be an effective approach, but it is ineffective!
The fact that a solution which is applied in each case the actor skills, mental and physical properties of it!
The imagination is also stimulated with a conscious multi-directional element.
The multi-direction is not to say that this task is easy.
Some people have come easily, and some who work sweat after only a little peculiar.
But it is certain that the creative work is essential!
Therefore, we should grab all the tools to revive our imagination, the emotional memories complete missing parts.
Stanislavsky was to summarize the most important promoters, but in fact many more - in fact, the practice evolved over the situation resulting from endless! - The possibility exists.
"Every fiction should be firmly based, and must be accurately built.
Questions: who, when, where, why, what for, how, by the imagination moving to do for ourselves, helping us to the imaginary, fog shrouded life story as a stronger and more determined a better understanding "- writes the Master, pointing out the six important question of all psycho-technical practice must be that it may sound, if the actor's arm you know the shape eljátszandó life circumstances of the stage you want to know, is the invisible history of events and would like to enter the thoughts and intentions!
This however does not figure to get to the soul, but we approach it!
"While the practice before the person was not any kind of image to be created in tandem with the concept - or if it was, was confused and blurred, but only something after work outlined, it becomes stronger. Develop in the soil in which the teacher and the director and cast new seeds. "- Means a Stanislavsky, recognizing that this is not enough, they are still in the initial steps.
Be rejected in the more "cores" next piece is called "IF" factor, which is capable to open the gates of the soul, and looking into the resulting hole.
It serves no less than that of the imagination through the entire swing motion by our physical and mental apparatus!
To the extent that it was important to the Master, well show that deals with it in several places in the study.
As an example, let's look at some of the simpler explanations are:
"... All you need to tell ourselves: what do start to what you would do ... and awakens in us the activity immediately. Meanwhile, the real self-defense, the actor manages human instinct, just as always happens in most real-life situations. "
"In the context of fiction come alive with the actor-man total organism, his whole being to captivate the role, not only psychologically but also physically."
"... Make up a familiar question: what do I do if I have created the fiction to become reality? Already we know from experience that the actor, according to the nature that is inclined to action to respond to that question. "
In the last quote I got to "open mind" and also the problem of activity is the next step.
How to help the actor to believe that the theatrical fiction, in that situation, whatever it takes, may become a reality, and even those can change in minutes, while playing?
Because if you manage to convince him, then offer him the tray is almost in complete empathy with the possibility of acting out, because it believed the real situation with real data will feel and act, so really, as it would in real life!
"The passion for truth lies in the circumstances." - Wrote Pushkin, and what is right!
Stanislavsky had a similar opinion when he wrote:
"Adapt to the first" specific circumstances ", I sincerely believe in them, and then the birth itself the" truth of passion. "
So here it is nothing else than that the living conditions of a "put" the actor create a situation and atmosphere around him that will help you to believe that what happens is true, and he must act in accordance with the facts!
"The environment around us are strongly influenced by the feelings.
And it's not just in everyday life is so, but the stage is ...
The external environment is often more important report will be on stage, even as reality itself. The external environment-induced mood, if it meets the requirements of the piece, great actors highlights the inner life, influence and experience of the actor's psyche as well. "- Means the Master.
He was not alone in this view!
Diderot also believed this.
"The scene is such, it should be ... If the reality of the truth once he enters our scene, no matter how modest form, soon becomes unbearable and ridiculous and all that is contrary to it ..."
Zola did not think otherwise.
"The environment should be to define the character."
The "particular circumstances" importance is indisputable, but there is another equally important factor is the stage and in rehearsal, or during training exercises, and this is nothing other than an Affiliate
I believe in vain because the authenticity of the events on stage, the soul shines in vain if the same partner can not believe it!
"The real judges: a partner." - Stanislavsky writes, and continues:
If you could affect it if it actually made me believe my feelings and the truth of the relationship developed between us, this means that the artist's objective was achieved, and managed to defeat the lie ...
He who is on stage at the moment of creation is not reproducible, non-rays based on the truth live on stage! The truth as to the stage where I sincerely believe you can be sure if will help to reassure ourselves and our partners on the stage. "
And if this works - I have to - it can also occur in physiological hallucination, that the actor's real pain, real physical changes in live and control over the entire body!
At this stage I would like to stay with a little bit, because the next chapter, in describing his own psycho-technical methods will be crucial!
Since this is a phenomenon based on psychological, I think, a very competent Vekerdy ​​Thomas to give you examples of it.
"If the vision - the imaginary picture - or any other kind of inner perception can trigger physiological responses, as often happens, physiological hallucinációról speak: for example, was so poorly described arsenic ízétől Flaubert, Madame Bovary took you to the fact that he is throwing it!"
To do this he must be a full and complete identification with the figure!
But here is no actor, but writer who formed a book and a "revitalized" figure identified!
Past performance can only be a true artist, and Flaubert seems to have been, because the physiological hallucination occurred to him several times!
Let's look at another opportunity.
"At two hours since incessantly Madame Bovary work ... I've six o'clock, at the very moment when I wrote the word" hysterics ", as in myself than I was so hard I shouted, so felt what Emma felt must have been scared that I have ... to seizures. I got up from the table and opened the window a little more calm ... There is no pleasure, as being not so ... Today, for example, was both a man and a woman and a loving boyfriend. "
But an actor can give you an example for the physiological changes of emotions, also Vekerdynél behind, I found the following example:
"How extraordinary strength in the body which changes take place when the actor enters the stage from behind the backstage, give him an example, we know that the patient is an actor on the stage temporarily cured: so the actors talk about" Doctor Theatre "
Michael Redgrave sprained ankle after he could not stand on his feet, went down with a stick on stage, but the stage where Machbetet playing - who has been without a stick.
He did not know what will happen, just playing, nothing felt healed.
Only then collapsed, and again it hurt so much ... So this is the figure that the actor forgets his own physical pain! "
Many examples can be similar to the Hungarian theater "healing", but I think that this is a convincing enough ...
In summary, Stanislavsky psychotherapy technique, the most important elements of real empathy bring about: the play in shape for life and each other, the play not described in intent and circumstances of the invention, idea - the "what if" and "what if it were true "revive the feelings - the creation of conditions and the resulting" truth "with myself and with our partners believe.
And this is why a lot of tedious work, it often grows on the roof trying agony, anguish?
This is the viewer's soul, brains, sense of mastery and making the show's success, the applause is!
However, this requires that the viewer felt all that Vekerdy ​​thus essential:
"The actor's muscle movements, blood flow changes directly to six, and it is important that this effect is accurate: if you exert oneself, really, lift body of the particle is what he does not know - or else their bodies, facing organization, I do not give accurate feedback about what I saw, the notion conjured up confused, can not believe it. "

 MY PSYCHO TECH

 My Psycho diversified technology, the actors' work practice-wide series.
The training and development practices for all inclusive, what a drama students need in order to even start on the track, but contain the situation exercises, which have long been in the business actors in the continued development permit.
The central question is always the problem of death, acting out, and the paradox arising in resolving potential of knowledge, understanding and application of learning!
Of the former noting that he learns that in fact any other well is capable of acting out in this round focused on all elements of pszichotechnikán. It starts from the vast majority of situational exercises, and this serves all the theoretical and practical elements. However, this gives the largest attack surface for those who are - different reasons - trying to make it impossible for all of my theory as well as my person.
Attempts so far has been successful every time, because they know the conservative social thought behind the enormous tensile strength. The mass psychosis unrestrained and unlimited possibilities for use against me, even when questioned, that all of what I say and do, it does have something to do with the theater.
In psychology, this phenomenon is well known by CG Jung said it: "Understandably, the psychological tendency, which is the dark side of man, preferring the wrong response to this, and even horror at, because it forces us to confront the problem of the bottomless abyss."
Now, additional appropriations for the arts is no different.
There is a huge "signs" indicating the experimenter, what is the accepted form of culture, direction, and that this is from what time how long it takes - and can last! What is different confine it to the periphery, but if you can, you can destroy unwanted weeds such as a flower garden. "... The innate human nature, and again hits the culture set limits." - Jung also writes, and even more elsewhere clarifies its position in this regard: "... in general feature of human culture that is divided against itself ... the kultúrprocesszus known animal instincts in people working more and more perfect to control: taming process, which leave hungry animal nature occasional rebellion without even imagine possible. Culture is the pressure of tight humanity sometimes el-snatch this intoxication: the antiquity of the dionüsszoszi orgies east to breaking wave of lived it through, which the ancient culture of essential and specific component part was ... The dionüsszoszi freedom rapture second wave during the Renaissance West ran through the humanity "
Before even touching the accusation that I want to free the animal instincts as an actor in quickly add that the animals are just a symbolic warning summons was! It is not unbridled, liberated ourselves without boundaries is a matter of animal instinct, but also a feeling equally to this description, which the society is generally negative, and are classified as undesirable. This category includes such as envy, jealousy, evil, nationalism, war-like tendency to branch, or the murder and death. So all those things that have already dealt with the theater, and I had to release the evil spirits from the bottle! In terms of animal instinct is to continue only as a generic term I intend to use all the things that the man of humanity in terms of harm! Harmful, because they are, but their existence can not be questioned, especially for an artist and not as ostriches can make invisible! We must deal with a theatrical work of writing, we have to consider settlement, and will not be ignored in the actor did not work! Especially for non-theatrical works in which the fundamental requirement of true empathy, and psychoanalysis is an essential tool ...
"... It is true that psychoanalysis makes the conscious animal instincts, but is not - as some explanation - that he odavesse them the reins, but also to place and settle them into a meaningful whole." - Jung writes.
Well, for me it is meaningful as a whole represents Theatre!
And how useful the use of negative emotions on stage, it is very well formulated Tadeusz Kantor.
"In life and non-sanctioned suspicious processes are proving highly effective in the art. In life, inferior, base, and booked materia no real material has not been known in the art can store up truth."
In such a suspicious and non-sanctioned death is a process that we will never really be able to accept, because everything completely opposite of what we believe about life and the ones of.
Jung says: "... contrary to your own highest Principles of the destruction, death, and briefly classify the evil. No one is attributed to the positive power of life over to him, so afraid, so he avoids it."
Thus, if the death be the category of Kantor's formulation quoted, it is very - very effective as a previously unknown truth disclose to us a -. You must use the work on stage and the actor's training!
This consumption is the most efficient form of a revised version of Stanislavsky's psychological realism and damages.
Let's see what are the elements that can be received, and what those changes need to Stanislavsky's work ...
In any case, good thought and completely took over the idea of ​​a subconscious awareness that the liberation of the practice as soon as possible, you should master in the beginning of the drama students.
The main difference is that while the Master of a general nature - diverse practices when carrying out a thought, while I express the sense of danger and the "fear of death" subconscious hidden feeling of trying to free up space, pre-made and ready be in the works for further process.
The question arises - was right! - Why most difficult in practice, the most difficult feelings can be experienced ... I'm starting to surface, bringing Well - no matter how it seems - in the sense of danger and death, consciousness only at first glance seems to be the most difficult. In fact, just as deeply rooted in us, the same depth of our consciousness is built on ancient as any form of love. The difference is that the risk of death and the feeling is much stronger effect in two out of the actor's soul and, more importantly, much more - almost forever - it remains in it! / See Vekerdy! / This is an indispensable actor for this kind of cluttered scenes drama literature!
But I have to admit - is clearly in possession of many years of experience do I mean - that my technique is not all-powerful psycho, do not always work effectively. There are also the same as students who have no technical analysis is able to mobilize the required emotions. In his subconscious so deeply embedded in the consciousness of death and feeling - thanks to some ancient code repression - that is revealing or impossible, or possible only at the cost of serious threats.
In such cases, the practice should be stopped immediately and it will never be carried out by the person liable! Because the subconscious barrier to break through sooner or later succeed in the same, but the elemental force of a feeling of it flowing and to the extent that they break the surface into subdued, students complete mental and physical organism, that the experience of feeling like a real death can cause death!
/ If not, as a result of extensive research I came to this conclusion would not even begin to write this book ... /
Before moving on psychotherapy techniques in detail, I find it important to answer a question that is most often spoken about my exercise regime.
Why do you only apply it to the strangulation of the training exercises?
Well, first of all clarify a fundamental mistake: I used to have nothing to do in real life Smothering Smothering called plot - more precisely, as much to do with it than any movie in which "strangle" someone!
Not a strong grip neck, strangling to death near the stage!
And that is why I chose for the strangling death of so many non-existent one?
First of all, because there are so essential to the theatrical play, physical contact, on the other hand, and I thought it best to gain control of the practice is considered as performing partners, as well as the practice leader for teacher-director.
Returning to the "strangulation", everything is just imitation, acting, situational practice, which in turn - and that's a fact - a very important thing however is different from any other situational practice. These practices is a powerful psychological preparation, foundation and support are carried out by the impact and effectiveness of what they often achieve a similar theme but done in a traditional practice!
Here the experience of striving, so that the actors really believe everything happens to her, and if that fails, then everything around you will then feel like the one who actually strangled.
So we arrived at Stanislavsky's second most important determination: the belief in the importance of any given situation, which I mentally PREPARATION deffinicio.
Nothing else to do here, sent to the actor as a psychological degree, which is less first, then increasingly begins to believe that what happens to him is not theater but reality itself. As a result, there develops a sort of sense of danger and fear - just like in real life - and at this point intuitively "live" feel and play will begin to form.
/ Just think how much easier to believe that during the course of the neck due to physical contact, as if the same cartridge in a pistol in my hand I would! Although note that if the actor is too successful training practices in this area, it can have a pistol cartridge will be sufficient ... /
"... The experience of almost the entire process involved in human personality: intellect, imagination, emotions." - George Szekely wrote about esthetician.
Sent to the actor at this point, is in many ways as possible. They also say that man chooses, that there are actors, so many solutions.
A few basic, yet important to the typical options I mentioned.
Although I wrote earlier that there was no real strangulation - and it still lasts! - Some physical creation but felt the need to ensure that the actors at all aware of the feelings experienced at this!
Otherwise they can not be robust enough psychic influence, be it no matter how well prepared!
Pavlov called paradoxical phase of this phenomenon and wrote about it:
"The paradoxical phase is: a cell specific inhibited state of play, ie, work capacity decreases, less importance to bear in this state is relatively weak stimulus is a strong stimulus can. So the focus center is ready, that the actor's movements, sounds, words by aroused and reinforced imaginary picture - this is a relatively weak stimulus - a strong stimulus to discuss and deepen the organization. "
So there is no need for a strong stimulus, a strong influence, just one that is sufficient to know the feeling.
For "In our art we know as much as feel it." - Means to Stanislavsky, and a similar view Vekerdy, who writes about him:
"The first moment of awareness of perception. Second phase: the sense in me sensations and emotions. Third phase: the mental processing."
The familiarization with the physical sense were at least as important to the creation of conditions which I have termed psychological foundations.
It is a matter that should be based on the physical conditions to be established, even to the actor's psyche can enter full intensity operation. Making it easier to understand things: a particular environment and conditions must be created to get the actor's easier to believe the truth of the situation.
Therefore, always took care to - is, therefore, has plenty of attack! -, Possibly alone, but carry a maximum of three courses. This has already created the circumstances in which the actor's easier to believe that either may be truly in danger of his life. I did not have anything else to do than to play a practice situation that mimikám and gestures to be more lifelike. / And now there is no real need for neck trouble! /
The more you practice playing different lines, the more open the actor's psyche, the more closer to the experience of - and of course the more you believe you really want to hurt you! - And finally, a miracle happens, comes into operation consciously releasing the subconscious to create the perfect formation of the whole physique, along with actor!
The conditions along with the need to act in the relevant environmental factors, because no means no matter where you perform these exercises is the case! In fact, you can choose any environment which is sufficiently isolated in order to increase the concentration of an actor's sense of danger, but it is essential that the first time should not select the stage. Interestingly enough, because in the beginning, this is the place where the actor is the least you can believe in the truth of any situation!
If the above two factors together have to be focus in mind that the actor more than once and as many types of situational experience to conduct the physical connection to all the elements to stay in it, even the smallest gesture from the face through play until the correct sound issue!
How important this is, well Anatoly Efrosz points as well.
"The task was physically to implant the color checked himself in action ... psycho-physical level to think about.
This thinking is based on the actions of all people, through the approaching conflict.
Doing so will add to the settlement, there will be no presentation is boring, towed, and do not fall under the sky, but comes from life ... The actor's body to be everything to understand. It should have to force ourselves about the practical application. They often do not like to live with it. But when we analyzed a situation and did not practice the situation immediately, as this is like learning how a foreign word, but then we do not apply. "
The mental preparation and the foundation has taken place after the technique of third stage of the psychological support, which means that, once sufficient temperatures hot actor to "help" are two very important, imagination-stimulating "crutches" to help him from the previously accumulated feelings in complete safety able to achieve on stage.
The "what to do if?" question and "Act like HA!" instructions closely related to each other - one from the other results, without the other would be ineffective and meaningless use! Concomitant use is not only recommended but essential, because without them the fruit of all previous work is lost!
When we assume the actor in question, make sure that responses are not only physical, but emotional side sets out! Therefore, always ask: what would you do and what you feel when ... If you really say your life would be in danger. What would you do and what you feel, if someone really wants to drown? Never content with the stereotyped responses, which almost always starts kicking in when the student the easier path of resistance to choose from. Strive to get deeper into the possibilities of, and with it the possibility of drawing up the answers to every detail. Walk around the subject so many times as possible, even if it be the limit of boredom. Do not be afraid that due to diminishing of interest of the cease of the practice, or if the actor fails already present in the atmosphere of, because when we see that you really do not know many answers to formulate a sudden run it with the statement: You can now do so as if all the happen in reality! Behave as if you are really wanting to strangle someone, become a real defensive movements, show your face to the terror and pain, to be true for every gesture, to the ultimate relaxation! That is not something else tells it like to play in all that you said in previous responses, I assure you of the truth of the situation to a later stage, the audience is able to believe the same thing.
If all this fails, you have opened a new "account" of emotional memory. A space at a later time - even decades! - To take the actor's death - and not just a drowning! - Feelings need to play!
It will not be difficult to do because can meet the requirements of the emotional memory that the only actor able to experience a feeling on the stage that has already been felt, experienced.
Well, she has lived through - even if it is artificially - and what you may consider.
The rest is done in such cases will be replaced automatically displayed works of inspiration ...

 SLAVE DIRECTORS - Tired ACTORS

 Theatre Visits and theater makers alike are frequently hear the question: what is the reason that theater artists, we are still the world's theatrical culture medium range lagging Why we were not able to "regime change" since, nearly two decades, at least a little closer to recede in the forefront ?
The much-maligned political leadership has ceased, there is no pre-set cultural policy, artists are free, without permit limits on freedom of creative imagination ...
Yet we see that - respect for the existing exceptions, fortunately! - Will be overcome by increasing the commercial art, the unassuming mediocrity or even failure of talent.
Well, this is so, because nothing really is as we think - we thought - and we want to.
The system is really only the political elite chair loose compromise was the central political leadership instead of so many political tendencies seeks its own to serve the art that people can not even be able to adjust between them and the cultural policy and artistic energy and money, the producers under the rule of was!
Say that in Hungary there is no creative freedom, and only those should be the limits of what defines prodecerek.
The formula is simple: to control who has the money to give! Even if you have no clue about theater or film. / Unfortunately, these people are! / The poor director tries in vain, in vain want to escape, to obey, or else the "money people" breaking the contract with him, and looking for a more obedient servant, who does not jeopardize the financial investment. Money was aware of the power of say the cast and, even worse, a continuously urges the director chases, but as soon as possible to see that money invested and the profits high. No time left for the true depth of artistic work, by minimizing the number of tests, which means that half-finished works are presented rude!
Easy to imagine that these circumstances are what raise the dam's acting work, and especially before the development of the actor. / Even the actors, few of those this time, who only mimic the external solutions to replace the internal feelings, so even those whose art is of a serious, intense work is required! /
In addition, the actor is clutching three directions at once you feel. On the one hand hard on the producers to - for the same reasons as a director - on the other hand, must accept the director horse racing speed pace of the creative work, and thirdly - precisely because he is nowhere to be feeling really financial security - at a time at several jobs to take . Quickly do the work of one of the theater, then ran to the other, there must also satisfy the requirements, then rush to a simultaneous recording studio, or even a film shooting with her, sometimes comes a report is then in the evening, dead tired and falls in one theater and plays the actual role. Literally, work, and not at all creative activities ...
The producer of the anxiety about money, the director of the authorities anxious to keep the deadline, and the actor's nervous, lest he be upset about it the other two.
Everyone is nervous and tired.
And in this atmosphere should - should - be artistic, creative activities carried out ...
Many people now argue with - especially the "money people" - that is no different, say, America did not - because it is now aping the new trends! -. There will also move all the money, so the art. And anyway, fool an investor who has money to give something to lose then leave it. After all, the basic element of the business benefits gained.
Well, yes. His point of view - apparently - they too are right. But only apparently. America, in fact - to stay now this example - not just give money to throw to commercial, but the really valuable works too! It is a healthy balance of valuable and worthless, but the lucrative financial support of things. And very important: when you give money to a real artistic productions, they also give the artists time to really work to their artistic excellence! He not only learned but also to apply the requirement to show great predecessors: the actor's intense work, almost laboratory conditions to be ...
Tired actor can not be created!
Even less with someone who is not even an actor!
Because we are also seeing this from the usual. Numerous Reality Shaw was discovered in humans and other suspicious locations after a few months now "ready" actors, reporters, presenters, directors are also god forbid!
Better and better roles and assignments are given, because the person in the productions of the financial assistance given, is aware that those viewers who Reality Shaw during the frenzy of his favorites, listen to and the radio broadcast, which he leads, and look at it a film or a play in which he plays. The director is fun to play all this, and already some time trying to get something useful talent, but famous /! / "From the actor." What is even more disappointing: the very talented, often cream of their profession, together representing actors to play new "associate", you should wear and boastfulness, "art histo" / because you already have them, quickly came to fame as a direct result! /
/ There are of course indigenous talents who inevitably do not need, say, the Theatre School to perform, but they are few and generally not real world of Shaw's are out! /
Even a slightly other words, if I say that the already tired and other things pregnant actress in irreparable and irreversible destruction done by the knowledge that in fact unnecessarily carried out a college because it no longer matters, not give the bar! Instead of the false mask of coolness by a qualified set of swearing, a series of scandals in the flow of compassion.
And no one who recorded this fight with this phenomenon! For everyone who tries it ruthlessly silenced, ridiculed, in short, to destroy it.
Is not it better to remain peaceful amateur?
Leisurely, create intensely and does not depend on anyone but ourselves, can not be held accountable to anyone but the creative fellow! Create the knowledge that what we are doing is real art, which is not a measure of how many people get to, but to those whom it reaches a value that you can provide! Because if so, then you should have done was what we did ...
Nice sound and thus able to work up the thing. However, the situation demands more!
It is so run-down theater and film as well as our morale and quality of artists, from the anarchic situation that only you can find a way out if everyone - amateur and professional, and sympathetic view - to play its part as well! If we try not to listen, not to smile indulgently, but in every possible forum to tell you what you need!
Those who will be given, the deeds, pointing the way artistic work and example. Perhaps we'll see who takes ...

God save theaters!
 


























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