Theatre In practice 3

In Chapter 11, students will learn the tempo rhythm which characters will clap ou their own tempo rhythm. Then, students will think about the characters in their minds like how would they clapping the tempo rhythm. The reactions and responds that the characters will make. In the table of 1.9, students need to clap out the tempo rhythm for the character. For example: A recent university graduate attending his first interview. I will clap kind of quick and had some excitement in my heart because the first interview is the most important, and mostly have the biggest hope for. However, people usually could be so nervous for the first time, so I will clap quick as my heart beats. For teachers, the book says this is a great tool to help students to find their characters in their mind such as often ask the students to clap out the characters and also his or her circumstances.

In Chapter 12, students will learn the first impression about the first play. In the group, people will think about the chosen play and corporately think what is the first impression about it. Write down some points about the plot of the play and say the differences within your group. Research will come next that search about the picture of that time period which the play was written. Then, give ten the most important events in the play. Students will think about what is the play mainly about and what is the direction.

In Chapter 13, students will learn about the past of that character, so think about the important scenes you have been in, and go through the big events that have happened to you, what is the reaction of other people, what is the action to you. Then, students should work with a partner and improvise the past story about that character based on your thoughts.

In Chapter 14, the book teaches us about the super objectives what the characters wants to achieve in order to reach the super objectives. What is the deeper objectives that the characters want. First, think about what your character is like and wants to be. Then, actors could decide their actions that achieve your final goals or objective. Also, students can write down the relationship with the other characters in the play(each of them), so when your character sees that character, they would think of the words that describe him or her such as Romeo can describe what does he think about Juliet. After that, when he sees her, he can think of those words to describe Juliet.

In Chapter 15, the book let us acknowledge the division of the play which is called the bits. A bit is when a character enters or exits from the stage or there is an event going or there is a change of objective for characters. Then, students need to give each of them a name, so it’s easy to remember it, so when you come and want to play that scene, you can just call the name of it, and everyone will know which one you are referring to.

In Chapter 16, students will learn and decide the objectives and action for each bit. Students will label each one of the super objectives and actions that they will play. Then, when they go through each one of them, students can keep them in mind about what should they do in each bit. Students can work through the majority altogether with groups of people and with the teachers. Then, they can also practice at home.

In Chapter 17, the book lead us to analyze and stand up bits of the play. Students should decide what is the main event in the story and discuss the circumstances( use six W to think). Decide the actions you are going to do and improvise the work well actions in the play. Within your actions, people should also think about the objectives. Moreover, people think about the relationship between other people. Then, decide the super objectives, germs. Improvise the scene again and don't think about the text, and let the actions, objectives and environment do the work. After that, discuss the scene again, and each time improvise some new things around. Students shouldn’t worried about their lines, but think more about your characters, your actions, ideas and environment. This will give you a sense that what would the character will do and driven by the actions. It gathered all the criteria it need in the past several Chapters.

In Chapter 18, students should put the touches into the performance. Students will video record their play, and watch over the performance, then give key points that teachers can model their super objectives and trigger the characters in their minds. Teachers should also be decisive to give some of the directions that student should know what they got to do.

In Chapter 19, the book guides us that we should do our final 24 hours before the performance. Then, students should do some body relaxation and then start to remember the imagination about the character’s life and past. Also remember that the relationships with other people, memorize the circumstances, the objectives and action, and also think as the character. Afterward, try to enjoy the role of yours.

Summary of Stanislavski

Actors should use imagination to recall the fictional circumstances in the real life.

When we are using imagination, we establish active pictures and impressions in our minds.

In order to utilize the imagination, people should always being in a relaxing minds and body.

Stanislavski states that we, human beings,  use three ways to communicate with each other which is through our voice, body language and invisible ray.

Objectives we want is the things that we want to get to or achieve in the environment or known circumstances.

The actions we do is we want to achieve our objects.

The super objective is the theme of the play, and what they want over the play. The germs is the basis of the characters. The through action is what we achieve to reach our super objectives.

Tempo rhythm is the mental pace and physical pace, which include everything around us.

We link the mind, body and spirit together as tempo harmony.

Act naturally on the stage. Don't really need to remember the lines.