Theatre in practice 2
In Chapter 6, the book teaches us about building the environment around you, so you can basically ask yourself 6 W questions. Who am I? Where am I? Why am I here? Where am I? What do I want? What will I do to achieve my want? These question can make students think about the circumstances around, and by asking where am I here? Students can start to think about the character’s thinking and actions, and it will be great questions to ask to get a basic idea about the character.
In Chapter 7, the book says students can have a better understanding about what they really want, so that have an objective in the environment. The book gives us an example that you want to make a tea, so think about the overall situation and environment, then students can comprehend the objectives. There is always a subconscious in the character which decide or determine what you really want( one is on the surface but another is underneath), so people should think more to make the character believable. There is a list of objectives in the book, which include that what people want to convey through the movement. Also, Stanislavski developed some actions that can do without the objects, he always practiced this for 15-20 mins to acknowledge the stage.
In the Table 1.3, there is an improvisation which let us think about it. So for me, I will ask her about friendship first, so she can relax in some way, then, ask her about did she go well with her boy friend. After all, I will say what if your boyfriend did something bad to you, what would you do and wait for her answer. If she says she will forgive him. Then, I will just leave them alone because the character doesn't really want to get into their business. But if she asks something about her boyfriend, then, I will tell her about her boyfriend. But this is kind of hard, that you couldn't really poke into other business, and your don't want your friend to get hurt by someone. It is hard to decide.
In the Chapter 8, in this chapter, students are really thinking about what they want to happen in a given circumstances. So students will improvise what is the conversation going to be, because we already have an idea about their thinking. The ideas are fixed, but the conversation between each other is changeable. Students would think of the circumstances and the actions, and the objectives in the character, so then to create a movement or emotions. The actors decide what the main events would be. In the Table 1.5, there is some actions that actors could do, and there will be some assign actions(emotions) and settings.
In Chapter 9, students get to decide the super objectives which are the wants that character is eager to achieve from. And students should choose two wants, one is the wants from the basic aspect, another wants is from the deeper aspect. The small want will be the conscious, while the really want will be the subconscious.
In Chapter 10, the books mentions the germ that the character want which what he or she is like and what they think about themselves as person such as innocent? Lonely? Brave? Weak? …etc, so students can perform them well based on the personality and their wants.
In Chapter 11, the book talks about the tempo-rhythm, which is in our pace, there is mental and physical pace that everything have. So they start with an activity. Students will choose an object in the Table, and they will imagine what is it like: feel, touch, sound...etc. Then, holding the objects altogether and clap with a tempo-rhythm.
In Chapter 7, the book says students can have a better understanding about what they really want, so that have an objective in the environment. The book gives us an example that you want to make a tea, so think about the overall situation and environment, then students can comprehend the objectives. There is always a subconscious in the character which decide or determine what you really want( one is on the surface but another is underneath), so people should think more to make the character believable. There is a list of objectives in the book, which include that what people want to convey through the movement. Also, Stanislavski developed some actions that can do without the objects, he always practiced this for 15-20 mins to acknowledge the stage.
In the Table 1.3, there is an improvisation which let us think about it. So for me, I will ask her about friendship first, so she can relax in some way, then, ask her about did she go well with her boy friend. After all, I will say what if your boyfriend did something bad to you, what would you do and wait for her answer. If she says she will forgive him. Then, I will just leave them alone because the character doesn't really want to get into their business. But if she asks something about her boyfriend, then, I will tell her about her boyfriend. But this is kind of hard, that you couldn't really poke into other business, and your don't want your friend to get hurt by someone. It is hard to decide.
In the Chapter 8, in this chapter, students are really thinking about what they want to happen in a given circumstances. So students will improvise what is the conversation going to be, because we already have an idea about their thinking. The ideas are fixed, but the conversation between each other is changeable. Students would think of the circumstances and the actions, and the objectives in the character, so then to create a movement or emotions. The actors decide what the main events would be. In the Table 1.5, there is some actions that actors could do, and there will be some assign actions(emotions) and settings.
In Chapter 9, students get to decide the super objectives which are the wants that character is eager to achieve from. And students should choose two wants, one is the wants from the basic aspect, another wants is from the deeper aspect. The small want will be the conscious, while the really want will be the subconscious.
In Chapter 10, the books mentions the germ that the character want which what he or she is like and what they think about themselves as person such as innocent? Lonely? Brave? Weak? …etc, so students can perform them well based on the personality and their wants.
In Chapter 11, the book talks about the tempo-rhythm, which is in our pace, there is mental and physical pace that everything have. So they start with an activity. Students will choose an object in the Table, and they will imagine what is it like: feel, touch, sound...etc. Then, holding the objects altogether and clap with a tempo-rhythm.
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