Author Text |
Author Text |
Stanislavski: An Actor Prepares |
Boal: Games for Actors and Non-Actors |
Theme/Stage |
Exercise/Example |
Theme |
Exercises/Example |
Action (p. 61) |
As if. |
Muscular Exercises (p. 62) |
Walk like Dick, laugh with Jane. |
Imagination (p. 85) |
Sense the taste of castor oil; imagine a place. |
Sensory Exercises and Memory (p. 63) |
Take a spoonful of honey, a little salt, then sugar. Then recall the taste of everything. |
Concentration of Attention (p. 105) |
The circle of light; recall/reconstruct the day/workday. |
Concentration (p. 192, 286 e 298) |
Establish a circle of attention; the darkroom, the interrogation. |
Muscular Relax (p. 129) |
Example of the American woman who assumed the poses of the statues she restored. |
Rhythm and Breathe (p. 102, 147 e 160) |
Massage and relax; relaxation of the head and body - horizontal and vertical lines; sculpting the other one's body. |
Objects and Objectives (p. 147) |
Exterior or physical object; inner or psychological object; elementary psychological object. |
Games with masks and Rituals (p. 197 e 204) |
Imitate each other without caricature; reproduce masks, personal habits - sequential structure: masks, ritual and motivations. |
Faith and Sense of Truth (p. 165) |
Take care of the details to convince for scenic faith and integrity; acquire sense of measure; want something truly, physically. |
The Preparation of a Scene and Commentary: stop and think ! (p. 297-299) |
Consistency between thought, action and words; thought moving to structure each scene around the main action. |
Emotional Memory (p. 201) |
Emotional memory; the truth of the game, scenic faith; example: the line of behavior remaining in character. |
Breaking Repression (p. 307) |
Recapturing of a lived oppression; emotional transfer. |
Communion (p. 233) |
"[...] even during the silences it is important to stay in touch with yourself, with each other, or with an object". |
Interrelation (p. 197-200) |
Actor Creation: creation of inter-relationship with others; the word communication between actor and spectator. |
Adaptation (p. 265) |
The word: "[...] starting point for new adaptation"; the invisible waves, irradiation. |
Develop a Subtext and Commentary: stop and think! (p. 297) |
Thought is a continuous flow; waves and sub waves, conscious and unconscious. |
Internal Motivating Forces (p. 287) |
Feelings, the intellect, and the will play dominant roles in creation. |
Rationalizing Emotion (p. 69) and Contrary Thought (p. 303-304) |
Saying and doing the opposite of what one thinks; explore the phenomenon and its laws. |
Continuous Line (p. 297) |
Every creative act requires a continuous line; the actor and their role are live thanks to that line. |
Reluctance Versus Will (p. 300-301) |
What character wants (will) and against one's will - dialectical interpretation. |
Internal State of Creativity (p. 309) |
The action has to be credible; two concerns: to balance the game and life. |
Recognition (p. 200) |
Artistic creation is also rational: actor, action, text. |
The Meta-Objective (p. 321) |
Preservation of the main theme throughout the work; small goals converge on the big goal. |
Scenic Rhythm (p. 307-311) |
Slow motion; Double time; saying the text rhythmically: Cast integration with the objective structure of subjectivities. |
The Borderlands of the Subconscious (p. 370) |
"[...] We live on stage thanks to our affective memories". "[...] The creation of the actor is the expression of your subconscious". |
In Search of Lost Time (p. 71) |
[In art] to rediscover lost time is to live in memory. |