* 2007 : new directories = doc + forms

TOPICS: drama + comedy + postmodern + american age + self + death + script-o-rama + sex + communism + themes + subjects +
"A lot of what acting is is paying attention." ~ Robert Redford

Acting in Film Analysis class *

"Good Acting" (movies): Forman, Mamet -- director, script?

"Pre-acting" is needed for CUs: situation and character must be established before any words are spoken.

"Re-Acting" is the answer.

How to avoid the generalities in writing about acting? classic

Film Acting Pages: Actors (Film Directing Class).

Virtual Theatre

Images are linked to amazon * See Acting I, II & III pages!


Anthony Quinn: Having talent is like having blue eyes. You don't admire a man for the colour of his eyes. I admire a man for what he does with his talent. [Sunday Express, 1960]


Actors die so loud. ~ Henry Miller


"The only really good thing about acting in movies is that there's no heavy lifting." ~ Cary Grant

Sister-Page -- ACTING *


Twelve Step Plan to Becoming an Actor in L.A.by Dawn Lerman

The Ultimate Audition Book for Teens: 111 One Minute Monologues (The Ultimate Audition Book for Teens, Volume 4) by Debbie Lamedman

More Alternative Shakespeare Auditions for Men by Simon Dunmore, William Shakespeare

Shakespeare for One: Women: The Complete Monologues and Audition Pieces by William Shakespeare, Douglas Newell (Editor)

Shakespeare for One: Men: The Complete Monologues and Audition Pieces by William Shakespeare, Douglas Newell (Editor)

Leading Women: Plays for Actresses II by Eric Lane (Editor), Nina Shengold (Editor)

Fifty African American Audition Monologues by Gus Edwards

How to Completely Blow Your Competition Away at Any Audition!: What by Caterina Christakos

Thank You Very Much: The Little Guide to Auditioning for the Musical Theater by Stuart Ostrow (Paperback - May 2002)

The Spirited Actor: Principles for a Successful Audition by Tracey Moore-Marable (Paperback - April 2002)

Audition Monologues: Power Pieces for Kids and Teens by Deborah Maddox (Paperback)

Audition Speeches for Younger Actors 16+ by Jean Marlow (Paperback)

The Audition Sourcebook: Do's, Don'ts, and an Online Guide to 2,100+ Monologues and Musical Excerpts by Randall Richardson, Don Sandley (Paperback)

Pocket Classics for Women by Ian Michaels (Editor), Roger Karshner (Paperback - November 2001)

An Actor's Dickens: Scenes for Audition and Performance from the Works of Charles Dickens by Beatrice Manley (Editor), Charles Dickens (Paperback - October 2001)

Audition Monologs for Student Actors 2: Selections from Contemporary Plays by Roger Ellis (Editor) (Paperback - October 2001)

Actor's Guide to Auditions and Interviews by Margo Annett (Paperback - September 2001)

Audition Speeches for Men by Jean Marlow, Elizabeth Ewing (Paperback - September 2001)

Scenes I'Ve Seen...: A Casting Director's Original Scenes and Interpretive Notes (Monologue and Scene Series) by Dorian Dunas (Hardcover - September 2001)

Auditioning: An Actor-Friendly Guide by Joanna Merlin, Harold Prince (Preface) (Paperback - May 2001)

Monologues for Women by Susan Pomerance (Paperback - April 2001)

Even More Monologues for Women by Women by Tori Haring-Smith (Editor) (Paperback)

Neil Simon Scenes: Scenes from the Works of America's Foremost Playwright by Neil Simon, Roger Karshner (Editor) (Paperback - October 2000)

The Monologue Audition: A Practical Guide for Actors by Karen Kohlhaas, David Mamet (Paperback)

The Sanford Meisner Approach: Workbook IV Playing the Part (The Sanford Meisner Approach) by Larry Silverberg (Paperback)

Outstanding Stage Monologs and Scenes from the '90s: Professional Auditions for Student Actors by Steven H. Gale (Editor) (Paperback - July 2000)

The Ultimate Audition Book for Teens: 111 One-Minute Monologues (Young Actors Series) by Janet B. Milstein (Paperback - July 2000)

More Alternative Shakespeare Auditions for Women by William Shakespeare, Simon Dunmore (Editor) (Paperback - May 2000)

Contemporary Scenes for Actors: Men by Michael Earley (Editor), et al (Paperback - December 1999)

How to Get the Part...Without Falling Apart! by Margie Haber, et al (Paperback - October 1999)

Audition Monologs for Student Actors: Selections from Contemporary Plays by Roger Ellis (Editor) (Paperback - August 1999)

Tight Spots: True-To-Life Monolog Characterizations for Student Actors by Diana M. Howie (Paperback - August 1999)

The Stage Directions Guide to Auditions (Heinemann's Stage Directions Series) by Stephen Peithman (Editor), et al (Paperback - April 1999)

Acting Scenes and Monologs for Young Women: 60 Dramatic Characterizations by Maya Levy (Paperback - March 1999)

Cold Reading and How to Be Good at It by Basil Hoffman (Paperback - February 1999)

Scenes for Women by Women by Tori Haring-Smith (Editor) (Paperback - February 1999)

Arthur Schnitzler : Four Plays (Great Translations for Actors Series) by Arthur Schnitzler, Carl R. Mueller (Translator) (Paperback - 1999)

Pocket Monologues: Working-Class Characters for Women by Susan Pomerance (Paperback - 1999)

The Flip Side: 64 Point-Of-View Monologs for Teens by Heather H Henderson, Ted Zapel (Editor) (Paperback - October 1998)

Great Scenes and Monologues for Actors by Michael Schulman (Editor), Eva Mekler (Editor) (Mass Market Paperback - September 1998)

The Theatre Audition Book: Playing Monologs from Contemporary, Modern, Period, Shakespeare and Classical Plays by Gerald Lee Ratliff (Paperback - September 1998)

Pocket Monologues for Men by Roger Karshner (Editor) (Paperback - July 1998)

Two-Minute Monologs : Original Audition Scenes for Professional Actors by Glenn Alterman, Theodore O. Zapel (Editor) (Paperback - June 1998)

The Perfect Monologue: How to Find and Perform the Monologue That Will Get You the Part by Ginger Friedman (Paperback - May 1998)

A Guide to Scenes & Monologues from Shakespeare and His Contemporaries by Kurt Daw, Julia Matthews (Paperback - April 1998)

Alternative Shakespeare Auditions for Men by Simon Dunmore (Editor), William Shakespeare (Paperback - March 1998)

Alternative Shakespeare Auditions for Women by Simon Dunmore (Editor), William Shakespeare (Paperback - March 1998)

For Women: Pocket Monologues from Shakespeare by William Shakespeare, et al (Paperback - January 1998)

Another Perfect Piece: Monologues from Canadian Plays by Tony Hamill (Editor) (Paperback - October 1997)

Pocket Monologues for Women by Susan Pomerance (Paperback - July 1997)

Monologues on Black Life by Gus Edwards (Paperback - February 1997)

Next!: An Actor's Guide to Auditioning by Ellie Kanner, et al (Paperback - January 1997)

Baseball Monologues by Lavonne Mueller (Editor), Lee Blessing (Introduction) (Paperback - September 1996)

Classical Audition Speeches for Men by Jean Marlow (Compiler) (Paperback - September 1996)

Classical Audition Speeches for Women by Jean Marlow (Paperback - September 1996)

More Monologues for Women by Women by Tori Haring-Smith (Editor) (Paperback - August 1996)

For Women: More Monologues They Haven't Heard by Susan Pomerance (Paperback - July 1996)

Kids Stuff by Ruth Mae Roddy (Paperback - July 1996)

Neil Simon Monologues: Speeches from the Works of America's Foremost Playwright by Neil Simon, et al (Paperback - July 1996)

Voices by Lydia Cosentino (Editor) (Paperback - July 1996)

The Audition Process: A Guide for Actors by Bob Funk (Paperback - April 1996)

Next: Auditioning for the Musical Theatre by Steven M. Alper, Herbert Knapp (Illustrator) (Paperback - February 1996)

The Contemporary Monologue: Men by Michael Earley (Editor), et al (Paperback - December 1995)

The Contemporary Monologue: Women by Michael Earley (Editor), et al (Paperback - September 1995)

Getting the Part: Thirty-Three Professional Casting Directors Tell You How to Get Work in Theater, Films, Commercials, and TV by Judith Searle (Paperback - September 1995)

Film Acting: Eisenstein vs. Pudovkin (two original concepts) *


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Actors and The Screen

"I supply a presence." ~ Charles Bronson, People, 9/15/03

We learn how to kiss, or to drink, talk to our buddies--all the things that you can't really teach in social studies or history--we all learn them at the movies. ~ Jack Nicholson, L.A. Times, 2003

Good film actor behaves as a good chess player; the double acting -- he acts for camera as well. He has to -- camera is too close. The habitual space is violated; camera crosses the safe distance border.

"Mirror Principle" + "Magnified Glass"?

Micro and Macro Acting?

"Acting on the stage and for the camera are the same, the differences between stage and film acting is proportions..."

Not at all!

Nicole Potter: There is such an incredible amount of acting training available in the US, and the rigor of differing programs and teachers varies wildly. The real debate about the difference between British and American training always comes back to the "inside out" or "outside in" debate; that is, do you train actors in diction, voice, deportment, dance, etc., and let them craft a role based on these external skills, or do you ask them to transform themselves through a use of consciousness, sense, and memory, a la Strasberg's interpretation of Stanislavski? Part VI of Movement for Actors, Outside In and Inside Out, contains a couple of inspired explorations of this debate ("Synergizing Internal and External Acting " by Jill Mackavey, and "The Actor as Athlete of the Emotions. . ." by Michele Minnick and Paula Murray Cole). Certainly in the twentieth century it was traditional for American acting mentors either to hold up English training as the paradigm of a disciplined, skill-oriented approach, or to vilify it as mechanically exacting but essentially soulless. The second opinion was probably the more generally accepted one for most of the century, but that has changed somewhat as American performance forms have become less naturalistic.

Nowadays, the best theatrical training in both countries is probably equivalent in terms of exposing students to interior methods and exterior methods. More and more American theater programs include movement courses. Preparation in Suzuki, or Meyerhold, or another specific, rigorous physical technique is appreciated as necessary for plays that are not necessarily going to be linear, slice of life productions. But perhaps the most exciting thing, to me, is that both instructors and students are realizing more and more that having physical skills and a physical approach to performing frees the imagination, the soul, the body, and the emotions,whether one is working on Shakespeare, Inge, Richard Foreman, or a movie of the week.

[ Movement for Actors ] ... "I like to ask young actors to remember what a visual medium film is. Think about it, how does an actor let you in on who his character is in a film? Usually what makes a character memorable is the way she holds a glass, the way he scrambles eggs for his girlfriend, the way she enters a room when she is depressed, the way she picks up broken shards after a disaster. An actor lacking an attunement to movement will not be able to make the most of these critical, wordless moments."

AP (allworth.com): Alexander Technique, physical improv, clown work, Biomechanics . . . You cover more than twenty movement disciplines in your book. Is your goal for the actor to find one approach that works and stick with it?

Nicole: This really depends on the age and skill level of the actor. One of the reasons I included all of these disciplines in the book is that I have a cursory knowledge of most of them, and I wish that I had more technical proficiency in more of them. I really wish I had expertise to analyze the use of body, effort, shape, and space that Barbara Adrian displays in "An Introduction to Laban Movement Analysis." I get really excited when I read about the resurgence of Biomechanics training, which Marianne Kubik discusses in the first essay in Part I. I guess I hope that young people will read the book, get fired up about a particular training form, and run out and immerse themselves in it. I say that because in the beginning you probably do need to immerse yourself in one form of training; otherwise you will be too confused. Clearly, I don't have a religious commitment to any one discipline; it's just that I feel that, if as a young person I had had more knowledge of what was out there, I could have made informed training choices, I would have more skills now.

For older actors, teachers, and directors, I think the book is interesting because it shows all the places in which these different movement approaches intersect and complement each other (as well as the places in which they differ). A person who already has some basic training or some experience teaching or directing others can expand skills just by following the exercises in the book. Certainly anyone can get a taste of Awareness through Movement by following theexercises in Alan Questel's "The Feldenkrais Method"; and any director faced with the challenge of directing Moliere could use Rod McLucas' exercises ("Some Rehearsal Notes for Moliere and Restoration Comedy") to explore the deportment of the characters.


French Connection

[ the basics ]

V. Fundamental Differences Between Stage Acting and Film Acting

[ * ]

A. Stage Acting:

In theatre, once the curtain goes up, the actor tends to dominate. A stage actor has more control over his or her performance than an actor in film. The requirements are different for stage acting and film acting.17
1. It is essential that the stage actor be seen and heard clearly. The actor should have a flexible, trained voice and must be trained in vocal projection.
2. The playwright's language is a major source of meaning in the theatre. To convey nuances of dialogue the stage actor must have variety and vocal expressiveness. Proper stress, phrasing, and breathing are necessary. The stage actor must be believable, even when reciting lines of dialogue that may be stylized.
3. A theatrical performance depends on the acting and the actors receive most of the credit for a production. This means that they are also assigned most of the blame when the production is boring.
4. On the stage good actors can play roles very different from their own ages-younger or older.
5. Since the stage actor's entire body is always in view, the actor must be able to control it. Activities that one does every day (sitting, standing, walking, moving one's hands) are performed differently on stage. Actors must know how to move in period costume and how to adjust their bodies to different characters. The actor must convey the inner life of the character through his or her body.
6. Acting in theatre is in real time; therefore the actor must pace performances and build scene by scene. Stage actors must create the illusion of the first time for every performance, sometimes for a long running play.
7. Actors must maintain an energy level from scene to scene and for the whole performance. The actor must correct mistakes because a scene cannot be replayed or cut. The actor needs stage technique.
* GODOT.06: Doing Beckett -- main stage Theatre UAF Spring 2006 *

B. Film Acting

2005: mini-chekhov "Four Farces + One Funeral"
1. The film actor needs very little stage technique. Essentially what a performer in movies needs is "expressiveness." The actor must have a photogenic face. Too much technique can make a performer seem to be overacting.
2. Acting in film is almost totally dependent on the director's approach to the screen play.
The realistic director relies more on the abilities of the actors, filming more long shots. This technique keeps the actor's entire body in the frame, and this camera distance corresponds to the proscenium arch of the theatre. The realist tends towards lengthy takes, in order to help the actors sustain performances without interruption.
The formalistic director prefers to convey ideas and emotions through edited juxtapositions.18
3. The film actor is not dependent on vocal flexibility. Many actors have succeeded with relatively inexpressive voices. Marilyn Monroe, Clint Eastwood, and Arnold Schwarzenegger, come to mind. Even the quality of a film actor's voice can be controlled mechanically.
4. Most films are shot out of sequence, due to economic considerations. The actor may be required to perform a climactic scene before an earlier low-keyed scene. The film actor must have a high degree of concentration to be able to turn emotions on and off.19
5. Film has Close-Up shots. Michael Caine in his book, ACTING IN FILM: ACTORS TAKE ON MOVIE MAKING, says:20
It (the close-up) can give an actor tremendous power, but that potential energy requires enormous concentration to be realized. The close-up camera wonĄŻt mysteriously transform a drab moment into something spectacular unless the actor has found something spectacular in the moment. In fact it will do just the opposite: the close-up camera will seek out the tiniest uncertainty and magnify it. Drying (forgetting your lines) can be covered up on stage. . . But the camera will betray the smallest unscheduled hesitation. If a member of the crew walks across my eye-line, off camera, when I'm doing a close-up, I immediately ask for a retake. I may not have thought my concentration lapsed "the director may assure me everything is fine" but the camera will have caught that minute flicker at the back of my eyes.
6. Michael Caine gives this advice to theatre actors entering the world of film for the first time:21
Not only have you got to know your lines on day one, you will also have directed yourself to play them in a certain way, and all this accomplished without necessarily discussing the role with the director, without meeting the other people in the cast, without rehearsal on the set. The stage actor is used to slowly wading into the play's reality. First a read-through with the assembled cast to acquaint him with the broad outline of the author's intentions. Then the director's view. Then maybe a free-for-all discussion. Gradually, book in hand, stage actors splash themselves with gentle doses of the play, scene by scene, starting with Act One, Scene One. Pity the poor stage actor who is about to be immersed, Baptist style, in the movies. Plays are performed. Movies are made.

Teaching Acting Through Cinema, Carol Penney, Yale-New Haven Teachers Institute (notes and ref. on the original site).

Taxi Driver


"Actors, in my experience, are the laziest of all the professionals. There are reasons for this that would fill volumes, but to summarize, I would just say that actors, for one reason or another, think that their "talent" or "technique" or "skill" is something instinctive, always at the ready. Once they get their "degree", or finish a workshop or two, they think they have it all down pat." [ * Practice Seduces Perfection ]

I have to come back to this thought. Actor by definition must be silly, like a child, but how to develop "smart" actor, without killing a fool?...


"An actor is a person who acts, or plays a role in an artistic production. The term commonly refers to someone working in movies, television, live theatre, or radio, and can occasionally denote a street entertainer. Besides playing dramatic roles, actors may also sing or dance or work only on radio or as a voice artist. A female actor may be known as an actress, although an increasingly large group prefer the term "actor" because of its gender-neutrality." [ wikipedia ]


More Than a Method Trends and Traditions in Contemporary Film Performance
Edited by Cynthia Baron, Diane Carson, and Frank P. Tomasulo Contemporary Approaches to Film and Television Series
$27.95s paper / ISBN 0-8143-3079-7
Though it is often neglected in cinema scholarship, screen performance is a crucial element in the ideological and emotional impact of films. More Than a Method provides the reader with a historical perspective on film performance theory and explains the importance and relevance of analyzing acting. The essays are divided into three sections: modernism, neo-naturalism, and postmodern film performance. The authors clearly define terms relating to acting and acting styles and provide brief overviews of the significant themes and predominant visual styles of each director. The volume's essays share a cohesive focus on the art and craft of acting, each emphasizing performance as it is presented on-screen, challenging the idea that the best (or only) way to categorize performance is by training or working method. Through dynamic and sophisticated analyses of a wide range of acting styles and choices, More Than a Method fills an important gap in today's film scholarship.

Dog Day Afternoon

"The last thing I want is to be (in a film role) is obvious, direct and offensive." ~ Bill Murray

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2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
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