Technical Committee
Foundation Board of Directors
Developer Infrastructure Core Team
Undergrad Degree in Theatre Directing
Grad School at CalArts for Lighting Design
Member of the Satori Group
Founder of the Moscow Art Theatre
"The task of our generation is to liberate art from outmoded tradition, from tired cliché and to give greater freedom to imagination and creative ability."
Psychological Realism
The Seagull (1898)
Uncle Vanya (1899)
The Three Sisters (1901)
The Cherry Orchard (1904)
Founded in 1897
popular seat prices
ensemble ethos
realistic theatre
the appearance of being true or real
First meeting of International Congress of Psychology - Paris, 1889
Pavlov - Institute of Experimenal Medicine, St. Petersburg, 1891
(the dogs were in 1901)
Freud - Interpretation of Dreams 1899
psychophisology
interrelation between mind and body
Physical Actions and Internal Life are linked
Most modern theatre, tv and film actors
"What if" (what if I were in the same situtaion as my character)
Motivation (why)
Objectives (what do I want)
like using a programming framework
Express the key points - let the framework handle the details
Manipulate the emotional life - the body will handle a lot of the details
For further reading
Moscow Art Theatre visited the US in 1923
Strasberg == Mind Blown
Dropped out of school and went to study with the Russians
New York - 1931
Founded by Lee Strassberg, Harold Clurman and Cheryl Crawford
Not the same as the Group Theatre in London
Believed in Leaderless Operation and Collaborative Work
Strasberg took Stanislavski's system and made a training system
You've probably heard of it
Marlon Brando, Heath Ledger, Philip Seymor Hoffman, Robert DeNiro, Daniel Day-Lewis, Christian Bale, Al Pacino
Emotional Memory becomes Affective Memory
Substitution - What would make me, the actor, behave in the way the character does
Notice that Heath Ledger and Philip Seymour Hoffman were in the list
Everyone other than Strasberg walked away from pure-emotional immersion
Split from Strasberg - thought emotional memory caused actors to focus on themselves and not the character
Concentration on the parter instead
live truthfully under imaginary circumstances
Broke with Strasberg after studying with Stanislavski
Emotion should come from imagination based on given circumstance
Another split
Basic Object Exercises
Start by doing mundane things in front of people
To create truth in realistic acting
"What would I do if I were in this circumstance"
"What would motivate me, the actor, to behave in the way the character does?"
connection to the ground
outside in
Truth from Physicality, not from Psychological realism
Drew from Noh, Kabuki and Shingeki tranditions
Produce a thing that is "true" to a modern Japanese sensibility
Training arose from the need to train replacement actors for the show
Suzuki collaborated with Anne Bogart
Added Anne Bogart's Viewpoints to Suzuki's techniques
Robyn Hunt and Steve Pearson studied for 12 year in Japan with Suzuki
Moved back to US to teach the techniques
Added Shogo Ohta's slow-tempo techniques
Here in Brisbane
Studied with Suzuki - Added Australian content and form
Exercies to Nick Cave instead of Japanese Flute
An actor might study all of them
Each technique can be useful for different things
Each of these directors has applied their techniques to Shakespeare
Know what problem they're trying to solve
Develop techniques to solve the problem
Don't confuse technique with results
Be willing to adapt based on new data
Are we chasing psycological realism?
Are we chasing physical truth?
Are we making a toolkit for people to use to build clouds?
Are we making a cloud that can be deployed in multiple places?
Are we providing computers?