Foundamentals of Acting Art

ATTENTION TO YOURSELF

INITIATION

attention/coordination/disidentification

The students directly and practically explore their possibilities of expression, laying the foundation of personal artistry.

Such a super-reliable foundation is the management instruments of the acting, or, in other words, RESOURCES OF IMAGERY.

The students turn to their true selves, conduct a practical study of the body's operational capabilities, and perform an energy audit at work with attention. Most importantly, they study the system capabilities of one's improvisation.

Upon completing "Fundamentals", students develop basic practical self-behavioural skills, gain a real sense of their artistic dignity, and receive a sense of creative delight and courage from the realised and mastered wealth of behavioural possibilities.

The first course concludes with a performance with a working title "Creation of the World".

First course. Fundamentals of acting/behavioural art is 13 weeks in duration and consists of 12 laboratory works + final performance.

• Research and study of one's own operational and actual dramaturgical possibilities in a full-fledged laboratory mode.

• Initiation and training of the supervisory function to partners, enabling its application to oneself, but already as an internal director's hypostasis.

• Directing the interaction of the inner actor with the inner Dramaturge. Two key types of constructive improvisation.

• Familiarity with improvisation in the mode of saturated, fruitful chaos, the tension of the sophisticated acting, and the inevitability of the still unknown. Thematic pre-imagery improvisation.

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The course program includes:
Research on imagery resources.

Interaction of three internal hypostases:
Actor. Dramaturge. Director.

List of laboratory works:

1. Attention and expressiveness. Reflection. Revision of one's bodily means of expression. Background, figure.
2. Beginnings of improvisation. We dare to interfere with our behaviour. Denial. Refusal. Change.
3. Three central body locations. Serial and parallel connections. Symmetry and synchrony.
4. Studying the structure of the score of plastic, vocal, and emotional behaviour. Spatial drawing. Characteristics and measured parameters.
5. Practice of independent (risky, responsible) naturalness. Dramaturgical foundations of improvisation. The birth of one's behavioural style.
6. Methodology for obtaining a solution to a behavioural problem under certain conditions. Spontaneous improvisation.
7. Parametric improvisation. Combinatorics as a practice of magical attraction.
8. Behavioural game simulator. Local technical sketch. Ability to conduct highly specialised training.
9. Practical study of connections, transitions, and connections of spontaneous and parametric improvisation. One-moment (one-time) transition of spontaneous improvisation to parametric or vice versa.
10. Formless improvisation, complete structure. Complex work of attention, reliance on dramaturgy, and management of parameters. Transformations of form and content. Self-possession in public improvisation.
11. Local formless improvisation. Working within constraints and with mandatory elements or conditions introduced in both dramaturgy and behaviour.
12. Total formless improvisation. Caprice and courage.

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Your Instructor

A practical researcher and creator of the unique education system for actors. The author of the "Versions Theatre" method and the corresponding educational program. Creator of many applied trainings for education, business, art, and life in general. Methodist and acting teacher.