fucking donnies class Flashcards
feedback
The information and sensation that one receives as the result
of an action
feedforward
An outgoing energy that anticipates the necessity for action
The Litmus Test
(Check list for the self)
a) What do we avoid?
b) What do we fall back to?
c) Unconscious patterns
The Gray Zone
(where things are expected, safe, “The Comfort Zone”, etc.)
To Do What You are Not Supposed to Do
AKA being stuck in your head while specifically trying to stay out of
it
Soft Focus
Look at the surroundings and other people without a want/desire
Extraordinary Listening
Artists must listen with the whole body/entire being without an
idea/expectation of the result.
Ongoing Awareness of Others
Seen in unison work (like the jumping exercise)
Surrender
a) Relieves the pressure to invent alone, to be interesting and force creativity.
b) Trust that something is there, other than our own ego or imagination, to catch us
c) Lets something occur rather than making it occur
Possibility
No good, bad, right, or wrong - only possibility and choice
Choice and Freedom
a) Leads to greater awareness, which leads to greater choice, which leads to greater freedom
b) The need to choose all the time fades away
Growth
a) Becomes a personal gauge for own strengths and weaknesses
b) Discover how you are free and how you are inhibited
c) Recognizing own patterns and habits
d) Awareness
Wholeness
a) Awakens all senses, clarifies how much and how often we live in our heads and see only visually.
b) Causes us to listen with the whole body
Problem 3: “Want” and its Effect on Rehearsal Atmosphere and Production
a) “Want” implies right and wrong
b) Causes a hierarchical domination of one person rather than an agreed group collaboration
- How VIEWPOINTS FIXES the problem
Offers a way to collectively address the artistic questions (i.e. what is the theme? What it is vs. What is it) that come up during rehearsal
Problem 2: Lack of Ongoing Actor Training
Training creates relationships, develops skill, and provides an opportunity for continued growth
- How VIEWPOINTS FIXES the problem
(1) Keeps artistic juices flowing
(2) Creates cohesive ensembles
(3) Allows individuals and groups to practice speaking the language of performance
Problem 1: Americanization of the Stanislavsky System
- Not good for theater acting
- Seen when actors focus on the feel of it (when I feel it, the audience
will). There is focus on the internal psychological response rather
than on surroundings - When focusing on manufacturing an emotion and holding on to it,
actors distance themselves from one another and from the audience
- How VIEWPOINTS FIXES the problem
a) Allows untamed feeling to arise from the actual physical, verbal and imaginative situation
b) Suggests fresh ways of making choices onstage and
generating action based on awareness of time and space, as well as psychology
Topography
The landscape/floor pattern/design created in movement
through space
Spatial Relationship
The distance between things (i.e. between bodies [one to one, one to many, many to many] or between the body to the architecture) and the expressive possibilities that come from it
Architecture: Sound
Sound created by and from the architecture
Architecture: Color
Creating movement off of colors in the space
Architecture: Light
Sources of light in the room, the shadows, etc.
Architecture: Texture
Whether the solid mass is wood, metal, fabric, etc.
Architecture: Solid mass
Walls, floors, ceilings, furniture, windows, doors, etc.
Architecture
The physical environment in which you/the actor are
working and how awareness of it affects movement
Gesture
a) A movement involving a part(s) of the body
b) Shape with a beginning, middle, and end
c) Behavioral Gesture - Belongs to the physical world of human behavior seen
in everyday life
Shape
a) The contour/outline the body/bodies makes in space
b) Broken down into lines, curves, or a combination of both
c) Can also be stationary or moving
Tempo
The rate of speed at which movement occurs
Duration
How long movement or a sequence of movements lasts
Kinesthetic Response
a) A spontaneous reaction to motion occurring outside of
you/the performer; the timing in which you respond to it
b) The impulsive movement that occurs from stimulation of the senses
Repetition
a) The repeating of something onstage/onset
b) Internal Repetition (1) Repeating a movement within your own body
c) External Repetition (1) Repeating the movement of something outside your
own body
Physical
(1) Spatial Relationship
(2) Kinesthetic Response
(3) Shape
(4) Gesture
(5) Repetition
(6) Architecture
(7) Tempo
(8) Duration
(9) Topography/Floor Pattern
Vocal
(1) Pitch
(2) Dynamic
(3) Acceleration/Deceleration
(4) Silence
(5) Timbre
The Six Viewpoints
a) Space
b) Shape
c) Time
d) Emotion
e) Movement
f) Story
