Michael Chekhov’s Acting Technique

2019 ◽  
Author(s):  
Sinéad Rushe
Keyword(s):  
2014 ◽  
Vol 58 (1) ◽  
pp. 42-63
Author(s):  
Emily E. Wilcox

Zhuli xiaojie (adapted from Strindberg's Miss Julie) and Xin bi tian gao (from Ibsen's Hedda Gabler) are two works in a recent series of intercultural xiqu productions by playwrights William Huizhu Sun and Faye Chunfang Fei. In these works, the xiqu body serves as a medium for theatrical expression, where music, costume, movement, and props come together in a super-expressive acting technique that foregrounds qing (情), or sentiment. In these adaptations, the xiqu body compensates for what is necessarily cut from the text in the transformation from spoken drama to xiqu performance.


2019 ◽  
Vol 14 (2) ◽  
Author(s):  
Eko Santosa

Improvisation is sometimes hard to be defined. Every theater worker has their own concept, methode and way to do it. But must of all, improvisation is always connected to spontanity which is transformed from acting is doing. When acting is reality of doing there would be a physcal action which brings influence to feelings or emotions. To have a spontaneus physical adaptation in every beat of scene of acting, actors should be well trained in the term of improvisation. The training materials of improvisation contains all elements of acting which are following four rules; why, do’s, don’ts, and how. Actors whom have skill of improvisation could bring it into the reality of acting as a technique in script’s based theater or to perform within improvisation’s theater. Keywords; improvisation, acting technique, performance, training


2018 ◽  
Vol 56 ◽  
pp. 57-76
Author(s):  
Elżbieta Litwin

A case study of the wedding scene in William Shakespeare’s Romeo + Juliet directed by Baz Luhrmann 1996, this article is a hermeneutic exploration of the truth pursuits within the subtext from the empirical perspective of a practicing director and a semiotician, in accordance with the principles of the Method acting technique. The author proposes a new, space-negotiated definition of subtext as a separate cognitive unit, based on the multilayered interdependences within the directorial semiotic triad of word–emotional action–mise-en-scène. In a minute shot-by-shot analysis, the author examines the hermeneutic collocations in-between the elements of the triad, and demonstrates the ways cognitive spaces become subtextual statements within each shot, as well as how the internal subtexts shape the metasubtext of each shot in order to arrive at the megasubtext of the scene — and subsequently the total subtext of the entire story in a cultural text. Aspects of the evolution of the subtext representations are analyzed within the triad of word–emotional action–mise-en-scène, against the backdrop of the epistemological pursuits of the truth. How do we reach the truth in a cultural text? What components of the film language rule the expression of the truth in a cultural text?


2016 ◽  
Vol 60 (1) ◽  
pp. 116-131 ◽  
Author(s):  
Susanna Weygandt

The history of the Russian stage traces the importance of objects in storytelling back to an earlier art: plastika, a stylized acting technique that “speaks” spatially with objects. In Russian New Drama, objects enter the stage as supplements to the hero, who survives the disintegration of the Soviet Union as a shell-of-the-self. As extensions of the hero, the hitherto lifeless things begin “to act” and tell their own story.


1999 ◽  
Vol 31 (1) ◽  
pp. 104
Author(s):  
Joellen A. Meglin ◽  
Daniel Nagrin

Author(s):  
Marta Nogueira

We aim to demonstrate how the acting technique and skills of an actor may influence the intentions of a text’s author, showing him new paths through the human and emotional factors. We also aim to demonstrate that what is usually considered a “text” may not always be a fixed entity produced by a single isolated individual. The analysis of the staging and film adaptation of Tennessee Williams’ A Streetcar Named Desire and the development of the character Stanley Kowalski by Marlon Brando, shows how he changed the written version of the play, shifting its core, interfering with the balance between the two main characters and helping to shape the cultural and historical attributes which rendered its particular place in art history. The text produced by the actor may, thus, assume an identical value to that of the dramatic script from which it developed, or even produce a higher impact.


1995 ◽  
Vol 5 (2) ◽  
pp. 181-201 ◽  
Author(s):  
Jane Baldwin
Keyword(s):  

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