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Approaches to Acting

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Matthew Gordon-Martin

on 15 March 2013

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Transcript of Approaches to Acting

Challenge! "Most actors find themselves struggling against a limited range of movements, noting with frustration their repetitiveness, lack of dramatic effect and general dullness"
-Leah Logie "I always know in advance what [actors] are going to do. They reduce everything to the level of their habits, their cliches, their affectations. They do not invent anything"
-Jacques Copeau "The primary problem is an actor's tendency to consistently return to physical choices related to their personality and not necessarily to the role they are playing"
- Barbara Sellers-Young Many actors often resort to their own mannerisms and ways of doing, which is the main barrier to their creative expression.
-Michael Chekhov Actors are restricted by their HABITS! "Habits are actions that are frequently performed because they initiated automatically"
-Benjamin Gardner 'Bound by
UNCONSCIOUSNESS' "Teach actors to expand their expressive abilities beyond their self image"
-Barbara Sellers-Young How do the PHYSICAL EXPLORATION exercises of Viewpoints and Lecoq's Training FREE the actor? Anne Bogart Jacques Lecoq History of VIEWPOINTS What are VIEWPOINTS? Tempo


Repetition Kinesthetic Response


Shape Topography

Spatial Relationship

Architecture The Training Benefits “liberating because i felt safe to explore within the confines of the grid and because I had something physically specific to focus on, so I could stop thinking and just do”
- CDT 2nd year Student “Viewpoints leads to greater awareness, which leads to greater choice, which leads to greater freedom. Once you are aware of a full spectrum, you do not need to choose all of it all the time, but you are free to and you are no longer bound by unconsciousness”
- Anne Bogart Relevance to Contemporary Practice Expansion of Awareness = FREEDOM "The power to determine action without restraint."
-Dictionary.com "The absence of necessity in choice or action."
- Merriem-Webster Dictionary Jacques Lecoq Creating History "This dialogue evidences a sense of optimism, following the defeat of Fascism. That artists must empower themselves to invent afresh the rules of their creative practice."
-Simon Murray Body as Poetic Medium "A wide [movement] repertoire gives an actor the possibility of expressing a wide range of ideas and feelings"
-Lea Logie Explorations: Neutral Mask Colors
Natural Elements
Materials Animal Study Observe Embody through Mime Levels:
Full-body to Essence Expand the Imagination Discover Expressive Possibilities Develop a heightened sense of awareness of self and the world around you Using the external
as a creative catalyst "Interpretation is the extension of the act of creation"
- Jacques Lecoq Hi, I'm SALLY Viewpoints Lecoq Exploratons Me Hybrid??? ME My Practice + Alexander, C. (2013) Lecoq Training within Collaborative and Devised Theatre Actor Training. Interviewed by Matthew Gordon-Martin [in person] The Royal Central School of Speech and Drama, March, 5, 2013.

Bogart, A., & Landau, T. (2005). The viewpoints book: a practical guide to viewpoints and composition. New York, Theatre Communications Group.

Chamberlin, F. and Yarrow, R. (2002) Introduction. In: Unknown. eds. (2002) Jaques Lecoq and the British Theatre. 1st ed. London: Routledge, p.1-16.

Chekhov, M. and Callow, S. (2002) To the actor. London: Routledge.

Dictionary.com (1950) meanings and definitions of words. [online] Available at: http://dictionary.reference.com [Accessed: 3 Mar 2013].

Fusetti, G. (2000) The Pedagogy of the Poetic Body. Interviewed by Suzy Wilson [in person] Padua, Italy.

Gardner, B. (2012) Habit as Automaticity, Not Frequency. [online] Available at: http://www.ehps.net/ehp/issues/2012/v14iss2_June2012/14_2_Gardner.pdf [Accessed: 4 Mar 2013].

Lecoq, J., Carasso, J.-G., Lallias, J.-C., & Bradby, D. (2009). The moving body: teaching creative theatre. London, Methuen Drama.

Logie, L. (1995) Developing a Physical Vocabulary for the Contemporary Actor. New Theatre Quarterly, 11 (43), p.230-240. [Accessed: 27th Feb, 2013].

Merriam-webster.com (2011) Dictionary and Thesaurus - Merriam-Webster Online. [online] Available at: http://www.merriam-webster.com/ [Accessed: 3 Mar 2013].

Murray, S. (2010) Jaques Lecoq, Monika Pagneux and Philippe Gaulier: Training for Play, Lightness and Disobedience. In: Hodge, A. eds. (2010) Actor Training. 2nd ed. Abingdon: Routledge, p.215-236.

Murray, S. (2002) "Tout Bouge": Jaques Lecoq, Modern Mime and the Zero Body. A Pedagogy for the Creative Actor. In: Chamberlin, F. and Yarrow, R. eds. (2002) Jaques Lecoq and the British Theatre. 1st ed. London: Routledge, p.17-44.

Purling, T. (2013) Lecoq and Viewpoints Training . Interviewed by Matthew Gordon-Martin [in person] The Royal Central School of Speech and Drama, February, 25, 2013.

Ruth, A. (2013) Viewpoints Training. Interviewed by Matthew Gordon-Martin [in person] The Royal Central School of Speech and Drama, March, 6, 2013.

Sellers-Young, B. (1999) Technique and the Embodied Actor. Theatre Research International, 24 (1), p.89-97. [Accessed: 10th Feb, 2013]. (1995: 232) (1995: 230) (Logie 1995: 230) (1999: 89) (2002, 26) (2012) (1999: 90) (2005: 19) (2010, 220) “The stripping away of habituated conventions (both mental and physical)... and the constant encouragement given to the students creative capacities, are central to the practice of the School and Lecoq’s own ideological make-up”
-Simon Murray
(2002: 35)
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