Intermediate Acting:
An introduction to a non-traditional acting approach for the intermediate and experienced student of acting and performance.
(12 weeks, 1-2 days/week, 1.5-2 hrs/class)
Course Objectives: Students of acting learn to develop and refine the elements of expressive, representational movement; develop the physical technique and the mental-emotional attention needed to create believable characters; and to utilize effective movement by performing a variety of exercises and simple scenes.
A variety of activities and exercises are utilized each day to foster trust, provide feedback, and encourage free creative expression. Classes are conducted in a comfortable and encouraging environment.
A minimum of 1/4 of each lesson period is devoted to physical training exercises to develop the actor/performer’s precision, control and versatility in physical and mental pre-expressivity. Emphasis will be upon developing the actor’s energy and presence through refined balance, dilation, rhythm, equivalence, opposition and omission.
Come prepared to move, interact, explore and discover.
* LESSON 1: The body is the Instrument --day 1
* LESSON 2: Movement and Actable Verbs --day 2
* LESSON 3: Physicalization of an Objective --day 3
* LESSON 4: Character in Life: --day 4
* LESSON 5: Character Box -- day 5
* LESSON 6: Costumed elements --day 6
* LESSON 7: Movement for Non-Animate Characters --day 7
* LESSON 8: Non-vocal Communication --day 8
* LESSON 9: Simple Actions --day 9
* LESSON 10: Occupation While Waiting --day 10
* LESSON 11: Portrayal of the Elements --day 11
* LESSON 12: Situational Movement --day 12
The Actor’s Studio Fall and Spring Acting Classes 2002-2003
Advanced Acting Class for Youth and Adults - An introduction to a non-traditional acting approach for the intermediate and experienced student of acting and performance. Emphasis will be upon developing the actor’s energy and presence through refined physical training, character development and acting relationships.
Bio: Joseph Mlinar has 25 years of theatre experience and training including training at the University of Minnesota, a teaching degree from Winona State University, and professional and amateur experience in acting, design, scenic art, directing and writing with theatres as diverse as Actor's Theatre St. Paul to Chanhassen Dinner Theatres; from film and commercial production, to
OdinTeatret and the International School of Theatre Anthropology in Denmark.
Movement Unit
LESSON 1: The Body as an Instrument
Educational Objective: The students will demonstrate their understanding of the body's importance to an actor by participating in a class discussion, relaxation and physical training exercises.
Materials Needed: Tools; a hammer, saw, wrench, camera, telephone, bat and ball, etc. An empty space, a tape player and some classical music.
Hook: Show the class the tools one by one, ask them what they are used for and what that type of working person (ie, carpenter) would be without their tool.
Step 1: Ask the class what the actor's tools are. The actors tools are his body, his voice, and intellect or mind. Discuss briefly why these tools are important.
Step 2: Lead the students in a relaxation exercise. Have all the students lie down on the floor with an arms length between each of them. Turn off the lights and turn on some soft classical music.
Step 3: Have the students think about their day, what they have done, and what they still need to accomplish. Ask them to release all the cares and to concentrate on relaxing their bodies completely.
Step 4: Lead the class in several repetitions of deep breathing.
Step 5: Tension and release exercise: Starting with the toes have them squeeze their toes as tight as they can, exerting as much tension as they can expend, for ten seconds. Then let them release and breath deeply for ten seconds. Repeat this same process throughout the whole body.
Step 6: After the tension and release exercise is completed have them breath deeply for several minutes while enjoy the state of complete relaxation they have achieved. Have them scan their bodies and if any remaining tension is existing have them breath deeper and send oxygen to the tense places in their body.
Step 7: Have the students, while leaving their eyes closed, come to a sitting position on the floor. When they have reached their position and are sitting as they wish to ask them to open their eyes.
Step 8: Ask the students why it is important for an actor to be relaxed. Help the students understand the significance of the body on stage and the possibilities a versatile body can provide.
Step 9: Begin a series of physical stretching exercises emphasizing the need for the actor to have a body in a controlled state of tension and relaxation; readiness to move in subtle and demanding ways. Discuss and give examples of the concept of opposing energies: every action should begin from it’s opposite direction to give action a dynamic tension and resolution.
Step 10: Have students apply this dynamic tension and resolution to their stretching exercises and then to a variety of everyday actions (walking, reaching, standing, sitting, hand shaking etc.). Demonstrate and emphasize the difference in control, precision and vital presence to these actions versus unfocused, indefinite and unopposed actions. Have students view and mimic
each other’s dynamic daily actions.
Step 11: Have students choose one of the tools and think about the most basic and essential action inherent in the use of that object. Offer suggestions and examples (camera as extension of sight = putting camera to your eye, saw = precise placement and controlled cutting). Have students explore these basic actions through dynamic tension and resolution. Each action has it’s origins in opposite forces.
Step 12: Discuss how daily actions are actions of habituation; they are hardwired in our reflexes and impulses. Contrast this casualness, or automaticity with all actions of an actor performing a character. Because all actions are a portrayal of life, real-life or otherwise, they are all what we call “extra-daily actions” and must be precise, concise and have dynamic origins.
Movement Unit
LESSON 2: Movement and actable verbs
Educational Objective: The students will demonstrate their understanding of actable verbs by using them in exercises and an improvised performance.
Materials Needed: Paper and colored markers or crayons.
Hook: Hand the students a blank piece of paper, have them close their eyes and draw whatever they want to.
Step 1: Collect the pictures before the students have opened their eyes. Mix the pictures up and pass them back out making sure that the original drawer does not receive his/her own picture.
Step 3: Have the students individually perform a depiction of the picture they are holding. Sound may be used in these interpretations, however, words may not be used. This exercise does not require side coaching, allow the students to explore and enjoy using their bodies to explain and depict something.
Step 4: Have the students turn their papers over and write a verb that describes that picture.
Step 5: Combine the students into groups of four or five. Ask them to create a scene to perform to the class that incorporates all of their pictures and displays each of the verbs listed on the backside of the picture.
Step 6: After each performance ask the class which emotions they saw and what caused them to believe those were the emotions portrayed. Compare with the performers and see what they were trying to convey and how they decided to use the physical delivery chosen.
Step 7: This lesson does not require a "wrap up" however, if desired the importance of using actable verbs may be covered. It may be beneficial to discuss with the students what they learned and how they might use this lesson to help them explore a character they are beginning to form.
Movement Unit
LESSON 3: Physicalization of an Objective
Educational Objective: The students will demonstrate their ability to physically achieve an objective by using their bodies in a scene.
Materials Needed: none
Hook: Have students sit on the floor in a circle. Play the game "Honey if You Love Me Smile" in the circular formation. One person is to ask another person in the circle "Honey if you love me give me a smile" then the responder is to say three times without smiling "Honey I love you but I just can't smile." The questioner can sit on the person's lap, play with hair, or any manner of physical movement (as long as it is appropriate for the classroom) to cause the opponent to smile. If the person smiles then it is their turn to repeat the same process with someone else in the circle. If the person does not smile then the questioner must ask another person in the circle the same question until someone does smile. Please keep in mind that both the questioner and the responder must look each other in the eye while talking.
Step 2: Discuss the game. How did they make each other smile? What did they do in order not to smile? What were the questioners and responders objective? Try to use examples from the game to help the students see how they use their bodies to get the other person smile.
Step 3: Write these two lines on the board: "I'm sorry I just don't love you anymore. I'll never let you go."
Step 4: Assign pairs of students to deliver these lines to each other while giving them conflicting objectives. It may be easier for the students to deliver the scene if they are given a situation, for example: they are passing as one is leaving to college.
Movement Unit
LESSON 4: Character in Life
Educational objective: The student will create elements of a character in a situation from daily life and apply these details to a minimal acting situation by responding to another character’s suggestion.
Hook: Explain and discuss what makes a character believable, seem real or have a true depth. Have students give examples of performances they’ve seen that were convincing or not and why. Discuss how characters in a play have a life of their own--in and out of scene. Discuss how the world of the play is made up of the relationships between characters. Discuss how the actor is a visual, kinetic, aural and interpretive artist. The actor translates the playwrights descriptions in words into a visual-visible, living, breathing and moving image --not an empty shell.
The actor breathes in the breath of life. Characters have needs, wants, drives memories, intentions, hopes, fears, secrets, lies and emotions. That’s why it’s called “creating a character”. Tell students they are going to personalize this process by creating their own character life.
Step 1: Give a personal example of the Character Life outline by going over the categories in the outline (see attached handout).
Step 2: Students then fill out an outline of their own character details for three motivational situations. Students identify a mood or attitude and one defining characteristic for each category.
Step 3: Help students answer questions to fill in their outline. Show the basics and how to keep it simple. Encourage creative stories.
Step 4: Have students move around and try out their ideas as they commit them to the outline.
Step 5: When students have developed a character outline for each of the three simple situations (having a birthday outing, going to school, going to work), have them practice the three character situations to memorize their details and be able to distinguish three distinct character lives. They may need to record prompts on a notecard as they get away from their outline.
Step 6: Tell students that the next lesson will have them apply these character outlines to a minimal acting situation in which they will assume each of the three characters according to a cue from another actor in character.
Movement Unit
LESSON 5: CHARACTER BOX
Educational Objective: The student will apply the details of characterization from the previous lesson to a minimal acting situation in character and react to another student’s character to develop listening and concentration skills.
Hook: Have everyone turn in their outlines and cue cards. Handout a description of the exercise. While everyone reads check over outlines and cue cards. Hand back the cue cards and tell students they may use them only as a last resort. They should have these simple details committed and developed into three distinct characters.
Step 1: Have students number off into groups of four. Go over the description of the exercise verbally and walk one group through an example.
Step 2: Choose the first group of four and have each group go through the exercise. Make comments of encouragement, pointing out strong examples of character details, concentration and listening. Have groups watching offer comments and constructive criticism. Suggest people try to guess what a characters details are. Have students describe their actions, intentions and reactions.
Step 3: When everyone has participated once have repeats if time allows and have groups give applause and bows.
Step 4: Have students give their reactions and questions. Discuss the purposes of this exercise. Explain how this character detail helps develop our own sense of character; what we actually do and what makes up a character’s life in the play.