Observation and immitation: Watch the silent movies. Besides bad acting, there are many "big movements" BEFORE the titles appeare. Remember, my friend, that the conflict between what I see and what I hear ALWAYS must present! Otherwise you are losing subtext... Do you follow me?


Sorry, I am not done with the topic.

Did you read the Acting Directory

The problem is that it's difficult to mix them both (Stanislavsky and Meyerhold) in classes and on webpages. "Pre-Acting" is the term introduced by Meyerhold, who hated Stanyslavsky' System and loved Stanislavky as an actor (he was Meyerhold's first teacher of theatre). Meyerhold often used Stanislavsky as an example of great "pre-acting"!

Pre-acting is "actor's exposition": once character is introduced, you must maintain his main physical traits throughout the entire role. But pre-acting also serves as intrudiction of the situation through character's reactions (Remember, acting is reacting!).

Strictly speaking, pre-acting never ends and could be called "acting" as long as you remember that not a single sentense can't be spoken without visual preparation for it. I have to see it coming, guessing, focusing on what will be said in a second.

Therefore we better rethink what we call "pauses" -- that is the moment, actor! Writer gets silent and gives stage to you!

Are you ready?


Non-verbal acting. subtext and Countratext


What is the difference between "subtext" and "countratext"?


Take a monologue (on your right), find the pauses and bring to class your suggestions for "acting in pauses" -- pre-acting


Talk about the topic again at Biomechanics

Focus on this topic is in "Acting Three" (Method) after we are done with the "Fundamentals" and "Intermideate" (Biomechanics).

method * 2002 *

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