Body Conditioning
Acting
- peter brook <The Slyness of Boredom>
- speak slowly&clear
- popular theatre ‘ elite theatre’ ‘commercial theatre’
- paul scofield
- “Theatre is life” “life in the theatre”
- highest level of theatre – irresistable presence of life
- renew your interest at every moment
- imagine audience – what is happening & affected by them
- look at the wall, conscience watching myself
- Question) when we doing our monologue what should we we? looking at who? Is there preference? or depends on production or director?
Theatre in Context
- <About Shakespeare>
- duologue preparation
- biography, writing, works, journals, records
- 2012 exhibition, british museum
Remember, remember the fifth of November
Gunpower treason and plot
we see no reason
why gunpower treason
should ever be forgot
Guy Fawkes
- catholic back then – had to hide their face
- protest and attempt to blow the parliament
- strong voice to the public
- <Macbeth>
- they take their fate into their own hands like Oedipus – dramatic device setting at the beginning
- Latin contains all information
- antient greeks tells stories by language
- aim: to kill a king is “bad thing” because play is gift for the king back then so that no one wants to attempt to assassinate the loyal
- ghost
- execution of the priest – where they hung up
- exercise) close your eyes and listening&imagine meaning and scenary
- enjoy the sound of the words
- focusing on your partner
- search words
- old english has a lot of “f” letter
- print type face was different
- when Shakespeare was writing Macbeth, he had no idea who would kill the king – ambiguity
- quite short play because king’s attention was short
- superstition fo the words in Shakespeare’s works
- go through the monologues
- every detail of language – feel emotion -> physicalising “express how you feel it natuarally”
Voice
- breath and vocal warm-up
- Weak forms <-> Strong forms