Objectives, Obstacles, and Tactics in Practice: Perspectives on Activating the Actor PDF
Preview Objectives, Obstacles, and Tactics in Practice: Perspectives on Activating the Actor
OBJECTIVES, OBSTACLES, AND TACTICS IN PRACTICE Objectives, Obstacles, and Tactics in Practice is the first book that compiles practical approaches of the best practices from a range of practitioners on the subject of working with Stanislavski’s “objectives,” “obstacles,” and “tactics.” Thebookoffersinstructorsanddirectorsavarietyoftoolsfromleading acting teachers, who bring their own individual perspectives to the challenge of working with Stanislavski’s principles for today’s actors, in one volume. Each essay addresses its own theoretical and practical approach and offers concrete instructions for implementing new explor- ationsbothintheclassroomandintherehearsalstudio. An excellent resource for acting and directing instructors at the uni- versity level, directing and theatre pedagogy students, high school/sec- ondary theatre teachers, and community theatre leaders, Objectives, Obstacles, and Tactics in Practice serves as a resource for lesson plan- ning and exploration, and provides an encyclopedia of the best prac- tices in the field today. Valerie Clayman Pye isanAssistantProfessorofTheatreintheSchoolof Performing Arts at LIU Post, where she teaches Acting, Voice, and Speech,and ShakespeareinPerformance. SheistheauthorofUnearthing Shakespeare:EmbodiedPerformanceandtheGlobe(Routledge2017). Hillary Haft Bucs is anactor/improviser,playwright,anddirector.Sheis an Associate Professor of Theatre at Western New England University wheresheteachesActing,ImprovisationalComedy,andPlaywriting. OBJECTIVES, OBSTACLES, AND TACTICS IN PRACTICE Perspectives on Activating the Actor Edited by Valerie Clayman Pye and Hillary Haft Bucs Firstpublished2020 byRoutledge 52VanderbiltAvenue,NewYork,NY10017 andbyRoutledge 2ParkSquare,MiltonPark,Abingdon,Oxon,OX144RN RoutledgeisanimprintoftheTaylor&FrancisGroup,aninformabusiness ©2020selectionandeditorialmatter,ValerieClaymanPyeandHillaryHaftBucs; individualchapters,thecontributors TherightofValerieClaymanPyeandHillaryHaftBucstobeidentifiedas theauthorsoftheeditorialmaterial,andoftheauthorsfortheirindividual chapters,hasbeenassertedinaccordancewithsections77and78ofthe Copyright,DesignsandPatentsAct1988. Allrightsreserved.Nopartofthisbookmaybereprintedorreproduced orutilisedinanyformorbyanyelectronic,mechanical,orothermeans, nowknownorhereafterinvented,includingphotocopyingandrecording, orinanyinformationstorageorretrievalsystem,withoutpermissionin writingfromthepublishers. Trademarknotice:Productorcorporatenamesmaybetrademarksor registeredtrademarks,andareusedonlyforidentificationandexplanation withoutintenttoinfringe. LibraryofCongressCataloging-in-PublicationData Acatalogrecordforthistitlehasbeenrequested ISBN:978-1-138-33593-6(hbk) ISBN:978-1-138-33597-4(pbk) ISBN:978-0-429-44341-1(ebk) TypesetinSabon bySwales&Willis,Exeter,Devon,UK ToThomas,Jolie, andOwen:the heartofallofmy objectives. – Valerie To Jeff, Chloe, and Marissa: for your love and support, and for helping me overcome the obstacles during this amazing journey. You allare myNorth Star. – Hillary Contents ACKNOWLEDGMENTS xi Introduction 1 PARTI PlayingObjectives 7 Chapter1 MoneyinYourPocket:Meisner,Objectives, andtheFirstSixLines 9 DENNISSCHEBETTA Chapter2 PsychologicalGesture:MichaelChekhov ExercisesonPhysicalizingtheObjective 19 ANJALEEDESHPANDEHUTCHINSON Chapter3 MakingSportofObjectives:Teachingthrough Student-DevelopedPhysicalCompetition 33 JOHNKAUFMANN Chapter4 StructuredImprovisedScenes 41 TIMOTHYJOHNSON Chapter5 ScoringtheUn-Scorable 49 MARIAPORTER Chapter6 CreatingaPhysicalScoreinaSnap:UsingSocial MediatoAppealtotheSmartphoneGeneration 59 TOMPACIO vii viii Contents PARTII OvercomingObstacles 69 Chapter7 EngagingObstacles 71 KEVINHOFFMANN Chapter8 ActiveObstacleImageScoring 83 DAVIDHUGO Chapter9 Resistance 91 JANETHAYATSHAHI Chapter10 ReturningtheDress:Demonstrating Objectives,Obstacles,andTactics 101 DAVIDABLOOM Chapter11 ImprovisedFantasies:HeighteningObjectives andObstaclesinSceneWork 109 HILLARYHAFTBUCS Chapter12 OptimizingtheObstacle:UsingIndicatorsof Csíkszentmihályi’sFlowtoHelpSelect,Test, andExperienceStanislavski’sObstacles 117 FABIOPOLANCOANDDIANEBONFIGLIO PARTIII IdentifyingTactics 131 Chapter13 TheTag-ticthatWorks 133 LYNNDEBOECK Chapter14 ImprovisingTacticalChoicesBasedonStatus or“Who’sDrivingtheDramaticActionBus?” 141 JEANDOBIEGIEBEL Chapter15 TransformationalTactics:EngagingStudents intheHeroicPursuitofTheirObjective 151 KIMSHIVELY Chapter16 Hunter/Hunted:ExperientialLearningandthe Actor’sCraft 157 VALERIECLAYMANPYE Chapter17 TacticsandActionDrives:Stanislavski MeetsLaban 165 CONRADALEXANDROWICZ Contents ix Chapter18 StanislavskiintheVoiceStudio 177 DERICMCNISH Chapter19 StimulatingEmbodiedTacticalActions 185 LESLEY-ANNTIMLICK Chapter20 NRGsandtheNatureofAction:TheLessac TacticCircle 195 CAROLINEGOOD Chapter21 RelayingAction–fromBreathtoText 203 AARONALPERNANDREBECCACOVEY Chapter22 UsingImprovisationtoIdentifyTactics 213 NATHANSTITH Chapter23 ActivatingtheActorwithGame Theory:UsingGamificationtoCreate PlayableTacticsonStage 221 JEANNELEEP AFTERWORD 231 Chapter24 RecordingTruth:TheCamera inActingTraining 233 WELKERWHITE CONTRIBUTORBIOGRAPHIES 241 CHAPTERABSTRACTS 253 INDEX 263
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