Interview 1
Bibhaban Presents Actor’s Workshop Acting as a craft and the role of acting from an actor standpoint and a directo’s point of view. Speaker:Roberto Prestigiacomo Moderated by Supriyo Samajdar
_ Acting experience
_ What is acting ?
It is an experience that puts a person in the event of a situation and a place or time (space).
And the formed space that is the result of this experience is placed in front of the audience.
Each acting school and studio has a different definition of acting.
Stanislavsky method or actin method, experimental theater or Gretovsky laboratory theater. Chekhov’s acting method.
In the basics of acting, it is very important to be fully acquainted with all of this.
But anyway, the further we go, the more our approach and attitude are changing and discovering new currents.
The most important principle for the actor is to focus on ourselves and what is happening inside us. And breathing control is the first step the actor must learn.
Breathing and imagery through revelation puts the actor in a situation that forces it to act.
A simple example if you stand in a secluded place and put your hands next to your waist in line with your body and after repeating the inhale and exhale focus on the movement of the hands that move upwards, after focusing and relaxing the nerves, they will move up.
This is not a magical event, no! Rather, what is taking shape in our minds changes from involuntary to voluntary by controlling the inhale and exhale, and command is given to the brain, so the brain commands other parts of the body, and eventually the body is forced to follow the mind.
Because the mind means all the neurons running in the body, so our behavior will be the cause of this request.
Whether true or false.
As we can see, acting is not just an innate mental act but also depends on brain function and proper physical behavior.
Now consider how an actor can perform perfectly in a scene many times with different breaths and imagery.
What will help the actor is not knowing the situation, not knowing the role! Recognition of the circumstance or condition and essence!
In fact, the actor breaks the space and steps into the unknown, and this experience happens in the now in the moment.
I do not oppose rehearsing for an actor before acting in theater, performance and cinema, although there are many differences between them.
But it is better to know that the actor’s practice is every day, every night and for a long time. it mind and body are in a state of readiness during the day and night, unless it wants to get out of that state.
A ready actor is someone who has authority in several things!
Breathing. Concentration. Imaging and at the same time indifferent to all these things!
Also: Practice, Practice, Practice.
After practicing and learning, it knows it has to be in the moment.
For example, we do not live in the last minute and we will not. We must be able to move continuously and continuously towards the future and change the performance from place to place and from situation to situation, and this is the same experience that the actor is having and we are watching this experience and accompanying and empathizing with it
Consider that I am in World War II and I lost my child.
My breathing changes and my focus disappears and as we said before the brain commands the nerve fibers of the body and here after the shock, the brain can not give the exact command, so the actor is in the moment. Experience is an unknown event that can only be created by breaking the space, but he stops here because he could not live in the next minute and move forward.
I am in World War II and I lost my child.
My breathing changes. My focus disappears for a moment due to the shock after the accident. The brain commands the body to move and the position moves forward and we will accompany the actor moment by moment and He is discovering and building the next situation.All I can do is lift child’s body off the ground and leave the situation and take refuge somewhere.
We will find out now and we will live with the actor continuously in the next minutes.
The actor is creating all the time and his inspiration and creation will never stop, just needs to break the space and take action.
In inaction even action will take shape when he is focused on that moment.
I am against the serious and emotional rehearsal of the actors in the theater scene, especially the performance, Because what we see will be a function and experience that will not shape any encounters.
When they slap you three times in the face. The fourth time the pain will be less and the redness will be more.
When they slap you three times in the face. The fourth time the pain will be less and the redness will be more.
When the actor examines all the angles of the role and experience before the main performance, instead of giving up, what happens and what we will see remains like a slap in the face, an ineffective, exaggerated experience that shows its redness will be empty of the true feeling of suffering, pain, joy, pleasure … dry and exaggerated.
A few hands-on experience because it has put itself in that position many times and knows what it wants, while in the now of moment we do not know anything about the future and we go with the actor or performer to find out with it what is going to happen.
Bibhaban Presents Actor’s Workshop Acting as a craft and the role of acting from an actor standpoint and a directo’s point of view. Speaker:Roberto Prestigiacomo Moderated by Supriyo Samajdar
_ Acting experience
_ What is acting ?
It is an experience that puts a person in the event of a situation and a place or time (space).
And the formed space that is the result of this experience is placed in front of the audience.
Each acting school and studio has a different definition of acting.
Stanislavsky method or actin method, experimental theater or Gretovsky laboratory theater. Chekhov’s acting method.
In the basics of acting, it is very important to be fully acquainted with all of this.
But anyway, the further we go, the more our approach and attitude are changing and discovering new currents.
The most important principle for the actor is to focus on ourselves and what is happening inside us. And breathing control is the first step the actor must learn.
Breathing and imagery through revelation puts the actor in a situation that forces it to act.
A simple example if you stand in a secluded place and put your hands next to your waist in line with your body and after repeating the inhale and exhale focus on the movement of the hands that move upwards, after focusing and relaxing the nerves, they will move up.
This is not a magical event, no! Rather, what is taking shape in our minds changes from involuntary to voluntary by controlling the inhale and exhale, and command is given to the brain, so the brain commands other parts of the body, and eventually the body is forced to follow the mind.
Because the mind means all the neurons running in the body, so our behavior will be the cause of this request.
Whether true or false.
As we can see, acting is not just an innate mental act but also depends on brain function and proper physical behavior.
Now consider how an actor can perform perfectly in a scene many times with different breaths and imagery.
What will help the actor is not knowing the situation, not knowing the role! Recognition of the circumstance or condition and essence!
In fact, the actor breaks the space and steps into the unknown, and this experience happens in the now in the moment.
I do not oppose rehearsing for an actor before acting in theater, performance and cinema, although there are many differences between them.
But it is better to know that the actor’s practice is every day, every night and for a long time. it mind and body are in a state of readiness during the day and night, unless it wants to get out of that state.
A ready actor is someone who has authority in several things!
Breathing. Concentration. Imaging and at the same time indifferent to all these things!
Also: Practice, Practice, Practice.
After practicing and learning, it knows it has to be in the moment.
For example, we do not live in the last minute and we will not. We must be able to move continuously and continuously towards the future and change the performance from place to place and from situation to situation, and this is the same experience that the actor is having and we are watching this experience and accompanying and empathizing with it
Consider that I am in World War II and I lost my child.
My breathing changes and my focus disappears and as we said before the brain commands the nerve fibers of the body and here after the shock, the brain can not give the exact command, so the actor is in the moment. Experience is an unknown event that can only be created by breaking the space, but he stops here because he could not live in the next minute and move forward.
I am in World War II and I lost my child.
My breathing changes. My focus disappears for a moment due to the shock after the accident. The brain commands the body to move and the position moves forward and we will accompany the actor moment by moment and He is discovering and building the next situation.All I can do is lift child’s body off the ground and leave the situation and take refuge somewhere.
We will find out now and we will live with the actor continuously in the next minutes.
The actor is creating all the time and his inspiration and creation will never stop, just needs to break the space and take action.
In inaction even action will take shape when he is focused on that moment.
I am against the serious and emotional rehearsal of the actors in the theater scene, especially the performance, Because what we see will be a function and experience that will not shape any encounters.
When they slap you three times in the face. The fourth time the pain will be less and the redness will be more.
When they slap you three times in the face. The fourth time the pain will be less and the redness will be more.
When the actor examines all the angles of the role and experience before the main performance, instead of giving up, what happens and what we will see remains like a slap in the face, an ineffective, exaggerated experience that shows its redness will be empty of the true feeling of suffering, pain, joy, pleasure … dry and exaggerated.
A few hands-on experience because it has put itself in that position many times and knows what it wants, while in the now of moment we do not know anything about the future and we go with the actor or performer to find out with it what is going to happen.