minutes of the meeting on 12/04/2006
acting and presenting the film
Unit Drama theory:
Konstantin Sergejewitsch Stanislawski und N emirowitsch Dantschenko
gründeten das „Actor’s Studio“. Drei zentrale Grundlagen bildeten die Theorie:
1. Psychotechnik
2. Methode des emotionalen Gedächtnisses
3. method of physical action
psychotechnics: Psycho-technology is the implementation of psychological skills in techniques for the implementation of human behavior. The actor is to empathize with his role. He will bring his person in the work.
method of emotional memory: The actor will evoke memories of the role of his life in order to produce the emotions in support to the die Rolle sind. Der Schauspieler hat zwar inhaltliche Vorgaben, aber kann die Rolle mitgestalten, hat also keinen konkreten Text.
Methode der physischen Handlung: Physische Handlungen lösen Emotionen aus; die Emotionen sind die Folge einer Handlung.
Actor’s Studio: 1947 in
Department acting in theater, film and television
acting in the theater: The actor is part of the staging, but he is the center of the performance. He interprets the figure. The actor should master his craft. Each performance is unique. It is a tacit agreement that the concept is artificial.
acting in the movie: There are new, film-specific ways of playing is required. Details of movement and expression must be perfected. A reduction of facial expressions and gestures take place. The audience is the secret observers. The balance of power shifts from the actor to the film aesthetic means. The expression of the actor is determined by directing, editing and technology. The film is reproducible.
Schauspielen im Fernsehen: Die Rollensysteme aus Film und Theater werden modifiziert. Gestik und Mimik werden noch weiter reduziert. Die Schauspieler werden scheinbar vertraute Personen. Das Schauspielen hat im Fernsehen eine Kontinuität und Präsenz. Der Schauspieler soll nicht mehr spielen, sondern nur er selbst sein. Die Produktionsweise bestimmt den Schauspielstil. Es gibt historisch mehrfache Veränderungen der Produktionsweise. Ein schnelles, stereotypisiertes (kostengünstigeres) Spiel setzt sich durch.
Conclusion: The status of the actor is different in different media. There is a change in media à this causes a change in the art of acting. Different forms of presentation and reception require different playing styles.
unclear: What exactly is a theatrical performance?
Unit Female movie stars
The young women: They embodied the woman in the conservative world. They should embody the virtues. Mary Pickford was successfully internationally. Their private life does not correspond to the stereotype of their representation.
Femme Fatale : It was the opposite of the Virgin. She was also secretly wish but also horror of the male sex. Asta Nielsen was such a successful actress of that type.
The Chic: Elizabeth Taylor played the confident woman of the world, the sovereign could also be cynical. Often, the actresses embodied in the private and the roles they played.
The Vamp: The Vamp was an increase of Chic. Greta Garbo and Mae West were successful vamps. Marlene Dietrich, the German version of the vamp. Later, she gave herself a natural and helpful.
The good comrade: The Vamp was replaced by a enterotisierten type of good comrade. She was the faithful companion of man. Ingrid Bergman was such a famous actress of this genre and Doris Day.
The Pin-Up Girl : The Pin-up girl replaced the good comrade. There were different variations and effects of the pin-up girls. Marilyn Monroe embodied the superlative of the pin-up girls.
The nymph : She had sex appeal, yet also a virgin. Brigitte Bardot successfully played the nymph.
Conclusion: Each decade has created its own type of actress that the spirit of the times reflected.
Unit male movie stars
The hard-boiled: Kirk Douglas
Strangers: Tony Curtis
The Comic: Charlie Chaplin
men of action: John Wayne
boy next door: Clark Gable
The Lost: Humphrey Bogart
rebels without a cause: James Dean
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