PREPARATORY STAGE

PREPARATORY STAGE – Consists of 3 semesters, each is 3 months study and 1 month of practice.

People of any profession who have long dreamed of playing on stage or who simply want to try their hand in theater or people whose occupation is art-related (musicians, artists, dancers, etc.) and who for whatever reason would like to master drama-skills can also attend the Preparatory Course.

The main objective of the Preparatory course:
to give students the basic tools of acting according to K.S. Stanislavsky, M.Chekhov, V.Meyerhold techniques and also to warm up their psycho-physical apparatus (to free oneself emotionally, to remove fear of speaking in public and also to give the opportunity to enjoy playing on stage).

The main objective of the Preparatory Course is to prepare those who have nothing in common with the theater or have a very insignificant stage experience, to enter the professional stage and also to liberate them physically and emotionally, as well as to discover their own individuality and unique charisma.

Time frame and course possibilities:

The duration of the course is 10 months – 3 semesters for 3 months and 1 month of practice (performance on the professional stage!)

A student who enrolled in the Preparatory course may take one semester or two or three in full. All students who competed all 3 semesters are allowed to take part in a practical training, and in the future they are automatically transferred to Advanced course. Students who have not completed 3 semesters are not allowed to practical training and are exempt from continuing their further studies at school.

At the end of the first year of study – students will get a chance to perform on the professional stage. Each student who has completed 3 semesters of study at the Preparatory Course will have an opportunity to play on the professional stage in public in one or several shows by classical authors in the semester-end play made of collaborations of sketches mastered during the trimester.

The main subjects of the Preparatory Course:
Acting skill, stage speech combined with vocals. In addition: master-classes on stage movement, dance, improvisation with detailed analyses of the text of the play and the role together with the stage director.

Number of classes:
students attend school 3 times a week (2 times on weekdays, and on a day off, 2 days the students work with the teacher and 1 day is a day for the preparation of independent work.

Preparatory course program by semesters.

1st Semester – Stanislavsky’s Technics

The main task of the semester: To acquaint students with the basic principles of the K. Stanislavsky system, explain to them how they act on stage and also teach them how to use the skill on the stage, teach skills of public and concert performances.

Main topics of the semester:

1 Action.

According to Stanislavsky, action is the basis of the scenic art. The performance is woven from action; every action must lead to the achievement of a specific goal. In addition, the actor should build up his role, should not play by imitating the hero’s emotions, because in this way he will look fake or resort to using stamps (clichés) that will destroy the perception of his role. The actor must build a chain of elementary physical actions. Physical action will give birth to an inner experience that will not be hard won, but will come out naturally, will appear truthful.

2 The truth of life.

Not to play, but to live. In general, truthfulness, the truth is one of the most important moments in Stanislavsky’s theory. Neither the actor nor the director is able to portray anything better than it exists in nature, in life, in reality. Nature is the main artist, it is an instrument. It is necessary to use it. On stage you need not to play a role, but to live it.

3 Analysis.

We are not inclined to analyze our emotions, all the more elementary: how we feel when we eat, when we sit, go, speak. Not inclined to disassemble into the smallest details of actions of other people in life. The actor must also be a researcher. For example, to study in detail the course of the day, the usual weekday or analyze how a person behaves, wishing to please the hosts, to whom he visited. Such observations should become habit. And the knowledge gained in this way will help the actor (and even more so, the director) to build a chain of physical actions, and hence the experiences of the hero of the play.

4 Simplicity, logic and consistency.

The chain (or, as Stanislavsky said, the score) of physical actions should be utterly simple. Since each time – the first, second, thousandth – when leaving the stage, the actor must re-experience the role, a complex scheme of actions will confuse him every now and then. It will be more difficult for him to cause feelings in himself, it will be harder to play, and it will be harder for the viewer to “read” his game.

In general, everything should be logical and consistent: thoughts, feelings, actions (internal and external), wants, tasks, aspirations, imagination and so on. Otherwise, the same confusion is at risk.

5 Super goal and end-to-end action.

Another important term of the system is super goal. Neither the director nor the actors should not neglect the idea of ​​the author of the play in order to please his thoughts and convictions. The director must find the author’s point of view and strive to express it. Actors – and even more – must understand, accept and be filled with the ideas of their heroes. The main task of the cast is to express the main idea of ​​the work. This is the main goal of the performance. And all their efforts should be aimed at achieving this goal. This becomes possible when the main line of action is clarified, which passes through all episodes of the work and is therefore called a through action.

6 Collectivity.

The most important task is achievable when all the team members join their efforts to work on the performance. “Mutual pliability and certainty of a common goal are necessary,” Stanislavsky considered. – If an artist delves into the dreams of an artist, director or poet, and the artist and director wishes of the artist, everything will be fine. People who love and understand what they create together should be able to converge. ” Without collectivity, without mutual support and comradely feelings, among the squabbles, whims and surges of pride – art is doomed to failure, “Love art in yourself, not yourself in art.”

7 Teaching by the theater.

Art should bring up. First, to educate those who deal with them, a creative group. Secondly, educate viewers. At the same time, Konstantin Stanislavsky recognizes that the main function of theatrical art is entertaining. But: “The audience goes to the theater for entertainment and imperceptibly comes out of it enriched with new thoughts, sensations and demands due to the spiritual communication with authors and actors from the stages.” One should not forget that the public has always gone and will go to the theater (and more broadly – to join any kind of art), so that if not to have fun, then get distracted from life, from everyday life, work and problems. But this should not encourage authors and artists to follow her lead. After all, when the doors close and the lights go out in the hall, “we can pour into the soul whatever we want.”

Graduation of the 1 semester: “Stanislavsky Show” – musical and dramatic program, played by students of the School, collected from studies on chapters and the book of Stanislavsky “My Life in Art”.

The 2-nd Semester Michael Chekhov’s Technic

The main task of the semester: to acquaint students with the basic principles of the work of the actors, according to the system of Mikhail Chekhov, to help master the technique of the pancreas (psychological gesture) and teach how to apply this knowledge in practice. “From internal to external” and “from external to internal” —to give a complete picture, what does this mean according to Chekhov , work on the images, taking into account these 2 technics.

MAIN TOPICS OF THE SEMESTER:

  1. The algorithm of preparing the body for action.

To acquaint students with a set of exercises to prepare their staff to create a plastic-expressive image of the role. Writing an external technique with which they can easily and correctly perform directorial tasks.

  1. Plastic expressiveness

Plasticity depends not only on natural data, on talent, but also on the readiness of the body. If the body signs its impotence, it negates the most beautiful designs of the imagination.

Give the student the technique of owning his body and teach him to constantly improve it. It is necessary to give knowledge of the possibilities and laws governing your psycho – physical apparatus. (To create a plastic-expressive image, it is necessary that the entire apparatus be specially prepared.) To acquaint students with special exercises for the emancipation of those areas of the body that will help him in his work.

  1. Psycho – emotional component

Teach the student to bring emotions to the surface, performing exercises for emancipation, attention. Observing a certain technique, the student becomes more open and emotionally responsive. The outer form is born by an emotional inner urge, a quick impulsive reaction. Confidence is achieved by repetition.

  1. Synthesis of Psychophysics and Psycho-Emotional Component

The filling of the psychophysical data set of students occurs by synthesizing two arrays. There is a search for relationships between psyche and physics. A set of exercises to combine these arrays and bring the psycho – physical apparatus of students to a certain level of skill.

  1. The cycle and the construction of the algorithm. Elaboration of the skills of feeling parts of your body,

body segmentation

Teach students to move from the micro gesture (finger) to fully connection of the entire body.

Why does the movement start with just one finger? When we work with one finger, it is easier for us to understand the nature of its movement. Fingers – the most plastic and controlled part of the body. In ordinary life, it is constantly necessary to change their form in order to perform certain actions. The character of the plastic is visible, errors are immediately felt, unlike those exercises for novice actors, where there is immersion in the state with the whole body at once. The last variable that we will launch in the cycle will be the head, since we have to monitor the build-up of the characteristic with respect to our body. When the head is connected, a state of complete immersion is achieved.

  1. Emotion and action in the cycle (psychophysical gesture)

The next step is to teach the student to compare the emotions caused by the word with the movement of the specified body segments.

For example: youth, dream, desire fear; stupidity, hunger, cold, etc.

Three main types of algorithm for searching plastic forms:

  1. Verbal method
  2. Record and describe the successive stages of data processing
  3. And directly Algorithm of plastic form, which is given in an arbitrary presentation in the natural language of the body

Work on the images according to the plays of Chekhov, Pushkin, Gogol, Volodin, Gorin using the Chelkhov system.

Graduation of the 2 semester: Setting up sketches for a given work using all accumulated technics.

The 3-d Semester Vsevolod Meyerhold’s Technic

Main topics of the semester:

  1. A large measure of generalization.

Teach students to distinguish “life” from theatrical convention and instill in them no desire to drag “some truth of life” onto the stage.

This component was based on the fact that neither the spectator nor the actor should have forgotten that theatrical action is reproduced on the stage, and the element of life is not embodied.

  1. Improvisation.

To acquaint students with elements of improvisation. To make them understand that improvisation is manifested in the fact that an actor creates an image on the stage not according to the parameters previously given in the script, but “here and now”, that is, improvising during the performance.

  1. The transfer of the actor is not an image, but his attitude to the image.

Teach students to create an image of a play character on stage in such a way as to prevent the possibility of his (image) dual interpretation by the viewer.

  1. Pregame Technic

Movement creates the word. Explain and train students to ensure that plastic gestures must be made before giving a cue in order to make the show more entertaining. Body movements and gestures should cause an emotion in the mind of an actor, which is transformed into a word.

  1. The actor must “mirror” – to hear and see himself from the side.

Explain to Students not to live their role and experience emotions; they should play a role, controlling his words and actions.

  1. The actor’s synthetic character was embodied in his ability to control his voice and diction, the ability to move on stage, etc.

To give students the basic skills of the “synthetic actor” and to give for this certain skills and abilities, namely:

– Action builds on the chain: intention – implementation – reaction.

– The game of the actor consisted of several stages on the stage, and each stage – of three phases:

1) intention – the awareness and understanding of the assignment;

2) implementation – the transition of the actor to a cycle of reflexes (volitional, mimetic, voice), that is, the action itself, the implementation of the task on the stage;

3) reaction – preparation by the actor of his own organism for the embodiment of the next stage of the role.

Within the framework of the concept of “conditional theater”, the previous principles governing the educational process of the work of the director with the actor turned out to be untenable. The individual, largely connected with the creative intuition of the actor and being the core of the actor’s work, was abolished, and the importance of the director’s leadership role increased. Meyerhold defined the boundaries of the actions of the actor, with mathematical precision built the mise en scenes. Acting freedom in the old sense ceased to exist.

Graduation of the 3-rd semester: Students perform etudes on the plays of Ionesco, Beckett, Strindberg given all the laws of the technique of the game of Meyerhold.