Showing posts with label ACTION. Show all posts
Showing posts with label ACTION. Show all posts

Tuesday, May 6, 2008

ACTIONS: THE ACTORS' THESAURUS


After some conversations with students about the approaches from this semester, I did some research and found this book. I ordered it, and find that its approach bares a startling resemblance, to the "line-by-line" approach that I demonstrated for a bit, once in class. Aside from that, it's a very rich resource for a practical way to communicate with actors in their native language: action. (Amazon Link)

Book Description:

ACTIONS: The Actors' Thesaurus is a vital companion for actors in rehearsal—a thesaurus of action words to revitalize performance.

Actors need actions. Actors cannot ‘act’ adjectives, they need verbs. Verbs are an aim to achieve, an action to perform.

‘Actions’ are active verbs. ‘I tempt you.’ ‘You taunt me.’ In order to perform an action truthfully--and therefore convincingly-- an actor needs to find exactly the right action to suit that particular situation and that particular line. That is where this book comes in….

ACTIONS is a thesaurus of active verbs that the actor can use to refine performance until s/he hits exactly the right one to help make the action come alive. ACTIONS: The Actors’ Thesaurus by Marina Caldarone & Maggie Lloyd-Williams has gathered together the (formerly) dogged-eared photocopied lists of action verbs from greenrooms and rehearsal rooms and put them together in this pocket-sized thesaurus. All with a view to helping actors get to the heart of meaning and to a great performance. This thesaurus of action words is indispensable in developing mood, line readings, and acting choices for each and every line.

From the Publisher
This new book just released by Drama Publishers gathers together -- for the first time -- the acting community’s –- formerly — secret lists of action words and makes them available in an organized and comprehensive format.
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"The play's the thing wherein I'll catch the conscience of the king."

Friday, May 2, 2008

SUGGESTED READING

-- click on image to enlarge and see the table of contents --

Talking after class today, a few students wanted to know of a book that might shed light on a way of looking at a scene in the way that Joe and I have spoken about it in class. Especially, a way to understand how the concepts of "action", "objective", "super-objective" and "beats" might relate to one another. When I was just starting out, Sonia Moore's book was very useful to me, in clarifying these concepts and how they related to one another. (the Amazon link)
"Sonia's earliest understanding of Stanislavski's final deductions came from P.V. Simonov's book, The Method of K.S. Stanislavski and the Physiology of Emotion, which had not yet been translated into English. Simonov, a neurophysiologist, was the first to study Stanislavski from a scientific point of view, and he confirmed that the method of physical action is physiologically correct. According to Simonov, in Sonia's 1973 translation: "Stanislavski presents the thesis that in every physical action there is something psychological, and that the most complex psychological situations are expressed through physical actions ... In essence, Stanislavski's views exclude any possibility of subjective experience without physical expression." Stanislavski concluded that "direct reproduction of emotions is impossible," and that an actor could perform truthfully only by finding the physical behavior that would connect with the appropriate subconscious state."
-- Stanislavski's Champion: Sonia Moore and Her Crusade to Save the American Theatre, Journal article by Felicia Hardison Londre; Theatre History Studies, Vol. 24, 2004.

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"The play's the thing wherein I'll catch the conscience of the king."