Great reminder for all teachers – especially Acting Teachers!!
a member of Dublin Youth Theatre works with gesture and language – photo Sean O’Meallaigh
Yesterday I had a launch of my book, ‘Teaching Voice’ at the National University of Ireland Galway. I had just come back from teaching my 2nd year Voice and Shakespeare class which had been a great exchange of energy and learning. In fact, a student said something which I am going to make the centre of a blogpost soon. After a lovely introduction by Marianne Ni Chinneide, whom I have known for many years both as a youth theatre member and an MA student many years before she became a colleague, I said this [ with a few embellishments to clarify further]-
‘Before I came to Galway, I had had some success as an actor but had enough of acting and was starting to make a name for myself as a playwright. What do I…
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A great source of wisdom on playing with the pause, the intangible, the invisible!
Janna Lindstrom and Conor Geogheghan in a recent CTPI workshop
I feel that theatre generally lives far too often in the realm of the materialist and the obvious; either that or it wallows in elitist performance art which says nothing , is riven with cliches and driven by obscure intellectual concepts. ( I watched a supreme example of this in the Tate Modern recently). And before anyone starts to write furiously, I know all performance art is not like that but some of it is.
So what do I mean when I talk about the Invisible? Is this just so much pretension? Definitely not.
Michael Chekhov called it , ‘the Intangible’. It’s like something just beyond reach, and yet ironically the ‘intangible’ is around us all the time.
In these next three blog posts , I am going to touch on what ‘the Invisible’ might mean in rehearsal and performance…
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NEW YORK CITY — In between scenes while performing Laertes in the Gallery Players’s production of Hamlet in Brooklyn, the young classical actor Dan Lawrence juices up his body to achieve what he calls “a rasic performance.”
“Laertes appears early on in Shakespeare’s play and then he disappears, but when he re-enters the play, basically he is already in a high emotional state,” the 26-year-old Lawrence recalls in an interview near Times Square‘s Broadway district. “Laertes bursts into the kingdom, and he’s ready to kill. He suspects the king for Ophelia’s murder. Everything that happens, after he reappears, happens very quickly — it’s all discoveries, one thing after another. The part requires many different emotional qualities and aspects of awareness, so I definitely used rasabox training for that. While I’m off-stage for an hour, I can go through my script as much as I want, but the…
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Michael Chekhov was a big proponent that acting should be joyful, playful and filled with a sense of freedom to explore!
Learn to use the Art of Play & Freedom infused with Technique!! Unleash your Creative Individuality:
#ActingCoach #Actor #Actors #Acting #ActorsLife #MichaelChekhovStudioOrlando #ActingTechnique
Hearing both sides of the argument, i would have to agree with both. I also find it challenging to filter what I know and am able to teach to others via SKYPE or any other form of social media! Any thoughts you may have on this topic, please do share.