Please post your comments about the film you were given to view.
Tell us briefly about the story.
What were your thoughts about the technical and aesthetic components?
How could this film viewing apply to our (or your personal) goals for our course?
Feel free to write deeply and wander off inside your thoughts. This is a safe place. :)
Monday, February 18, 2013
MAMET QUESTIONS
Please comment on the following questions based on your reading of Mamet.
Please comment and answer questions by Mon Feb 25.
"Ancestor Worship"
In this section, Mamet essentially takes Stanislavsky to the woodshed and destroys the concept of school for actors.
Naturally, this irritates many in the field of theatre, but generally, just the academics in theatre.
Why do school or training?
As you answer- keep in mind the reference to the actor's studio: "choosing" as opposed to "making" actors-
If the idea of "method" and preparation for an emotional state of being- or for an inter-connectedness with the material is irrelevant- or tertiary- then translate this to screen performance- how does one perform for screen? Can one prepare? If so, how?
"Helping the Play"
How does one refrain from helping the play? In this case, screenplay/film?
Is he suggesting that the imagination is not fertile or active when an actor is trying to emotionally or intellectually prepare for a performance? What are your thoughts on this stance?
"Acceptance"
What are the implications, risks, and advantages for learning "to accept" your role in this film project?
Please comment and answer questions by Mon Feb 25.
"Ancestor Worship"
In this section, Mamet essentially takes Stanislavsky to the woodshed and destroys the concept of school for actors.
Naturally, this irritates many in the field of theatre, but generally, just the academics in theatre.
Why do school or training?
As you answer- keep in mind the reference to the actor's studio: "choosing" as opposed to "making" actors-
If the idea of "method" and preparation for an emotional state of being- or for an inter-connectedness with the material is irrelevant- or tertiary- then translate this to screen performance- how does one perform for screen? Can one prepare? If so, how?
"Helping the Play"
How does one refrain from helping the play? In this case, screenplay/film?
Is he suggesting that the imagination is not fertile or active when an actor is trying to emotionally or intellectually prepare for a performance? What are your thoughts on this stance?
"Acceptance"
What are the implications, risks, and advantages for learning "to accept" your role in this film project?
Monday, July 9, 2012
WELCOME
Hi everyone:
This will be the pre-production hub for all things FILM.
I'll provide updates on all subjects of the process for transparency in the project.
I'll upload script drafts to the STORY page.
I'll upload readings to the RESOURCES page.
Be sure to sign up as a member to the page and to click on "subscribe to posts" at the bottom so you can be updated via email when people chime in here or when something new is added.
This will be the pre-production hub for all things FILM.
I'll provide updates on all subjects of the process for transparency in the project.
I'll upload script drafts to the STORY page.
I'll upload readings to the RESOURCES page.
Be sure to sign up as a member to the page and to click on "subscribe to posts" at the bottom so you can be updated via email when people chime in here or when something new is added.
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