𝚍𝚎𝚜𝚙𝚒𝚝𝚎 𝚎𝚟𝚎𝚛𝚢𝚝𝚑𝚒𝚗𝚐, 𝚒𝚝'𝚜 𝚜𝚝𝚒𝚕𝚕 𝚢𝚘𝚞

The Theatrical Styles of Grotowski and Peter Brook Grotowski Theatre: Communicating through focused sounds and movements  because Grotowski actors believe that acting is a search for self knowledge and awareness, their style has taught them to break free of limitations and utilize their full potential  Improving concentration by working in silence as a creative passage  Developed highly specific physical and vocal training  Grotowski wanted his actors to have direct control over even their most minute movements; clarity is key Actors need to see how they impact others when they look and listen to them “Poor Theatre” forced actors to use all their skills to transform simplistic spaces and objects into a whole range of imaginative worlds, with heavy symbolism and direct audience interaction  Like in Brecht’s method, Grotowski emphasised the use of emotional memories to recall and recreate actors’ experiences with total honesty and total commitment, no matter how p...

Comparing Elements of the  Stanislavski and Brecht Five Truths Videos Although both the Stanislavski and Brecht videos from the Five Truths series portrayed the same scene from Hamlet, they use their practices to create distinct TEAM. The lighting and color of the pieces is a very visible piece of contrast. Stanislavski’s video was flooded with natural seeming orange light. Some stage lights were used so that the actress’s face would be more illuminated and thus more visible at times, but the illusion was still that the lights were only from the lamp on stage. In contrast, the Brechtian video had a void-like appearance because of its writing. Ophelia’s desk almost floats as the only two light sources, ceiling bars and a thin lamp, give off a sharp white buzz. Unlike the Stanislavski piece, the colors of the actress, the props, and their environment do not blend at all. The edges are cut straight clean, which also plays into the focus of Brecht’s video. At the start of the scene, in...

The Theatrical Styles of Brecht and Artuad German playwright Bertolt Brecht created acting techniques that largely focused on audience recognition and engagement. He always wanted them to be aware that what they saw was a drama, not real life. Elements such as music, montage narration, and screen projections force the audience to think more objectively about the performance. However, Brecht also still believes that an audience should be entertained. This is why he often referred to the concept of Dramatic Theatre. In Brecht’s view, this style should have a concise and chronologically-told story without any lingering questions. He wanted the audience to engage in the emotional experience of a performance only while in the theatre. In contrast, the French writer Antonin Artaud wanted to have an audience that was shocked by his pieces. Through his use of powerful   gestures, he tried to cause “sensory disruptions” for the audience as a means of confront them with emotion and not words...

  The Theatrical Style of Stanislavski The Russian theatre practitioner Konstantin Stanislavski created a method of acting that now unconsciously pervades the practice of many performers. Stanislavski believed that actors need to practice the “art of experiencing”. Utilizing concepts such as subconscious emotion employed by conscious action and a theatrical sense of self is meant to help create emotion on stage through drawing on personal experiences. Stanislavski also wanted actors to know the motive for all of their character’s decisions. What was their moment before the scene? How do their previous choices affect their actions now? These are the kinds of questions that help build the task at hand for a scene. Lastly, Stanislavski created what he called the “Magic If” of given circumstances. By imagining internal stimuli and incorporating themselves as a person and character into a scene, an actor can fully immerse a theatre in the fictional drama of the scene.

Scene 3 Genre Directing Ideas If I were to direct Scene 3 as a Sitcom, I believe I could make it in a very ironic style. Character A would walk onto stage from the middle isle in the BlackBox. They’re trying to distract themself after having dreams about a past crush, so they decided to shopping. As they’re browsing, they bump into Character B - the very bubbly crush A had been dreaming about. The laugh track goes wild! Character A is so stunned that they can’t even lie, and simply confess to their heightened stress. Character B empathizes deeply, as they’ve been feeling stressed for other reasons. As the scene progresses, both A and B meander around the store, occasionally picking up loose t-shirts and such. Lighting throughout this scene should be smooth and realistic, but still bright enough to very clearly see the actors’ expressions. When A says their final line, they begin to leave through the back hallway, but B grabs their hand to stop them. Both blush heavily before B tried to...

Midterm Reflection Name: Kamden Class: IB Theatre HL1 - G Period Overall, how would you describe your experience in this class? My experience in this class has been great so far! All of my classmates are amazing actors and working with them, as well as individual performances has been awesome. Applying theatre into an academic context has made this class extremely enjoyable, since it allows me to think critically about an activity that I love!   What aspects have been easy for you? I am typically very energetic and extroverted, so sharing my ideas has not been a struggle. I have also found some of the more technical work to flow much easier than I would have anticipated.   What aspects have been challenging? Initially, because of my ankle injury, I struggled to physically participate in our movement exercises. I have also been late on a few homework assignments, either from technical issues with blogger or my forgetfulness.   What is one thing you have learned about your ...

Reflections & Critique on “You Are Not Okay.” After spending the past two weeks working on our IB Theatre Collaborative project, it’s been a wonderful process to look back and chronicle how we reached our final presentation. The group started out without much energy on the 1st, so a lot of work involved concept building. Basic emotions and premises were thrown around to be considered, and when we found the one that many of us gravitated towards and felt could be built on, that became our theme. Some of our first ideas came from the lyrics that were added into the google doc and gestures recommended from other pieces done on Tuesday and Thursday. Although we didn’t make characters (as was part of the assignment), the theme of hiding Mental Health struggles lent itself to a large contrast between the roles of the interrogative walkers and our ‘middle person’, which ended up being Aishlinn. Their levels physically on the stage and the volume of their voices intentionally overshadowed ...