#thalia romme

[castielgeralt]

Ferramenta nº 4: SUBSTITUIÇÃO

Dotar o outro ator/personagem com alguém da sua própria vida que inspire uma necessidade pessoal para atingir o OBJETIVO DE CENA da sua personagem.

— O Poder do Ator

[bened1ctcumberbatch]

Improviso

 1 - Quem sou eu ? You - as If

2 - Quem é a outra pessoa ?

3 - Onde ( local) ?

4 - Relação ( Pq)  ?

[thaliaromme]

acting cannot be taught. It can only be learned through self-education. In other words – by doing.

Churcher, Mel

[theelfknigth]

I would look how David Stakston use his Physicality, his voice, all the expressions and things that he does without saying anything

- Lisa Cawthorne

[dstakston]

Jonas & David 🖤

[jvanrhijn]

1. Ed Speleers

2. Watch at least 3 of his works Speleers with  vefry different characters in each.

3. How do Ed Speleers portray the character? Do him  find an object of item of costuming that helps them access the character, like Misha Colins did in SPN? Does him character’s voice help them access the character? His  physical movements? How do these thing compare in all 3 works?

4. Read and/or watch interviews with the Speleers on how they approach a character.

[castielgeralt]

An Introduction to Iambic Pentameter

How Shakespeare Uses Meter to Create Rhythm and Emotion

When we speak of the meter of a poem, we are referring to its overall rhythm, or, more specifically, the syllables and words used to create that rhythm. One of the most interesting in literature is iambic pentameter, which Shakespeare nearly always used when writing in verse. Most of his plays were also written in iambic pentameter, except for lower-class characters, who speak in prose.

Iamb What Iamb

In order to understand iambic pentameter, we must first understand what an iamb is. Simply, put an iamb (or iambus) is a unit of stressed and unstressed syllables that are used in a line of poetry. Sometimes called an iambic foot, this unit can be a single word of two syllables or two words of one syllable each. For instance, the word "airplane" is one unit, with "air" as the stressed syllable and "plane" as the unstressed. Likewise, the phrase "the dog" is one unit, with "the" as the unstressed syllable and "dog" as the stressed.

Putting the Feet Together

Iambic pentameter refers to the number of total syllables in a line of poetry—in this case, 10, composed of five pairs of alternating unstressed and stressed syllables. So the rhythm ends up sounding like this:

ba-BUM / ba-BUM / ba-BUM / ba-BUM / ba-BUM

Most of Shakespeare’s famous lines fit into this rhythm. For example:

If mu- / -sic be / the food / of love, / play on ("Twelfth Night")

But, soft! / What light / through yon- / -der win- / -dow breaks? ("Romeo and Juliet")

Rhythmic Variations

In his plays, Shakespeare didn’t always stick to ten syllables. He often played around with iambic meter to give color and feeling to his character’s speeches. This is the key to understanding Shakespeare's language. For instance, he sometimes added an extra unstressed beat at the end of a line to emphasize a character's mood. This variation is called a feminine ending, and this famous question is the perfect example:

To be, / or not / to be: / that is / the ques- / -tion ("Hamlet")

Inversion

Shakespeare also reverses the order of the stresses in some iambi to help emphasize certain words or ideas. If you look closely at the fourth iambus in the quote from "Hamlet" above, you can see how he has placed an emphasis on the word “that” by inverting the stresses.

Occasionally, Shakespeare will completely break the rules and place two stressed syllables in the same iambus, as the following quotation demonstrates:

Now is / the win- / -ter of / our dis- / con tent ("Richard III")

In this example, the fourth iambus emphasizes that it is “our discontent,” and the first iambus emphasizes that we are feeling this “now.”

Why Is Iambic Pentameter Important?

Shakespeare will always feature prominently in any discussion of iambic pentameter because he used the form with great dexterity, especially in his sonnets, but he did not invent it. Rather, it is a standard literary convention that has been used by many writers before and after Shakespeare.

Historians are not sure how the speeches were read aloud—whether delivered naturally or with an emphasis on the stressed words. This is unimportant. What really matters is that the study of iambic pentameter gives us a glimpse into the inner workings of Shakespeare’s writing process, and marks him as a master of rhythm to evoke specific emotions, from dramatic to humorous.

[castielgeralt]

Character Creation




In this activity you will practice building the physicality for your character.

1. Use the scene you analyzed for Lesson 2’s activity.

2. Use the physical elements below.

3. Build a physical movement sequence for your character for the scene.

- Karim Darwish

[castielgeralt]

Tape yourselves talking about the same subject as the scene—not using the dialogue from the scene and without any particular needs, just as yourselves.

Barr, Tony. Acting for the Camera

[castielgeralt]

Ragnarök

Ragnarök

All of the other stories in this section tell of what has already happened. This story tells of what is yet to come.

Ragnarök is the doom of the gods, and the end of the world.

It begins with three winters of wars in Miðgarð. Then Fimbulvetr follows, the winter of winters, with bitter frosts and biting winds. Three such winters will follow with no summer between them.

Then the end will begin. The wolf Skoll will seize the sun and swallow her, spattering Ásgarð with gore. The wolf Hati will catch the moon and mangle him. The stars will vanish. The earth will shake. Every bond and fetter will burst.

Cocks will crow to raise the dead in Hel's realm and the giants in Jötenheim. Jörmangandr will work his way towards dry land. The ship Naglfar, made from dead men's nails, will sail, packed with giants. Loki, free from his bonds, will sail with the dead from Hel. The sons of Múspell will advance from the south, led by Surtr, the flame giant. All will converge on the field Vígríð: giants and the dead from Hel and Fenrir and Jörmangandr and Surtr and the blazing sons of Múspell.

Meanwhile, the gods, roused by Heimdall's horn, will meet in council. Óðin will ride Sleipnir to Mímir's spring to take advice from Mímir. Yggdrasil will shake and moan. All of the Æsir and all of the Einherjar in Valhöll will arm and prepare themselves and follow Óðin to Vígríð.

On the field of battle, Óðin will engage Fenrir, while Þór will be attacked by Jörmangandr. Freyr will fight Surtr. Freyr will rue the day he gave his sword to Skírnir; Surtr will kill Freyr with a single stroke. The hound Garm from Gnípahellir will leap at the throat of Týr, and they will kill each other.

Loki and Heimdall will meet again and cause each other's death. Þór will kill Jörmangandr with a single stroke from Mjöllnir, but will drown in the venom spewed by the serpent. Fenrir will seize Óðin between his jaws and swallow him. At once, Víðar, Óðin's son, will press one foot on Fenrir's lower jaw and grab his upper jaw, tearing the wolf apart and avenging his father.

Surtr will fling fire in all directions. Ásgarð and Miðgarð and Jötenheim and Niflheim will become furnaces. The worlds will burn and the gods will die. Men, women, and children will die, giants will die, monsters will die. Birds and animals will die. The earth will sink into the sea.

The earth will rise again out of the water, fair and green. The eagle will fly and catch fish under crags. Grain will ripen in fields that were never sewn.

Víðar and Váli, sons of Óðin, will still be alive and will make their way back to Iðavöll, the shining plain where the halls of the gods once stood. Móði and Magni, sons of Þór, will join them there, and they will inherent their father's hammer, Mjöllnir. Baldr and Höðr will come back from the world of the dead to Iðavöll, along with Hœnir. They will talk and will build new halls.

Two humans, Líf and Lífðrásir, who hid themselves deep within Yggdrasil, will see light. For although the sun was eaten by Skoll, she will give birth to a daughter no less fair, who will follow the same sky-path and light the world. Líf and Lífðrásir will have children; there will be new life everywhere on earth.

With the rebirth of the world after Ragnarök, the golden age of the Norse gods will return. A radiant hall will rise up which no flames of perdition can touch. In that hall, the noble warriors who fought along side the gods will live on in joy. The ignoble will be carried away by a dragon to be eaten. The gods will find the golden playing pieces of their board game in the shining meadow, and they will build on the triumphant foundations laid down by Óðin.

[castielgeralt]

Story is the PHYSICS of the human soul. - Damien Walter.

[castielgeralt]

Read some of each play aloud. Read various roles but don’t perform—just read and imagine what you’re saying is the truth.

- On Acting

[castielgeralt]

How to Study Plot and Character in Your Favorite Stories: 5 Easy Steps

What if I told you the best way to learn how to create amazing plots and characters in your own stories was by purposeful osmosis? First, of course, I might have to explain that “purposeful osmosis” means reading lots and lots of books and watching lots and lots of movies–and consciously studying what it is about them that works. With that explanation out of the way, chances are you’re in agreement. But chances are, you’re also not entirely sure how to actually make this happen. Just how do you figure out how to study plot and character in other people’s stories?

Not too long ago, Wordplayer K.M. Updike (she of the rad initials!) emailed me, asking:

[What is] your process for studying the plot, structure, character arcs, etc., of the books you read and the movies you watch? I’ve been wondering for a while how one goes about studying the writer’s work as they read/watch.

This is an excellent question. After all, it’s easy for Stephen King to say:

Don’t get me wrong: this is a tremendous piece of advice. But it’s also pretty vague.

That’s it? We just … read? And the answers will, what? Come to us?

Yes, actually. To some extent anyway. The more we read and watch good (and bad) stories, the better our own storytelling instincts will get–without our having to do even one thing more.

But in the interest of upping our game here, how about we do a few things more? Today, I’m going to give you an actionable plan for how to study plot and character (and lots more) in your favorite stories.

1. Start With an Action Plan

The first step in being purposeful is, of course, to have a purpose. Often, you may simply want to observe the books you read and the movies you watch generally, letting the story’s own strengths and weaknesses guide your study. But it can help you dig down deeper if you have a list of things you want to consciously pay attention to.

I recommend a short list. The shorter, the better, in fact.

Why? Because your brain can only keep track of so many tangents at once (says the woman with twenty tabs open in her browser). You’ll get better results if you focus on one or two primary elements or techniques at a time.

For example, lately, I’ve been concentrating on dialogue (both because it’s something I’m working on myself and because I’m planning a series of blog posts on dialogue for sometime next year). I watch the ebb and flow of dialogue, taking note of what works and what doesn’t. What’s the effect–and why did the author intend it?

This isn’t to say, of course, that you can’t also take note of anything interesting, in any category, that reveals itself. But only consciously follow certain rabbits down their holes.

2. Arm Yourself With Highlighters and Pens

Jane Eyre: The Writer’s Digest Annotated Classic (Amazon affiliate link)

This is for serious studiers only. Seriously, I only do this one when I’m in full battle mode (e.g., like when I was dissecting Charlotte Brontë’s Jane Eyre, so I could write about its brilliant techniques in Jane Eyre: The Writer’s Digest Annotated Classic).

This is where you’re going to want to divide your studying into a few more categories–one for each color of highlighter. Go through the book, highlighting appropriately, whenever you find an interesting passage. Write notes with abandon in the margins. Then, when you’ve finished, go through again and type up your notes, expanding on them to fully record your reactions and new knowledge.

I say this is only for serious studiers primarily because this is a fast track to interfering with reading-as-pure-pleasure (and also to making a mess of your paperbacks).

This is rigorous studying at its best and will require your full brain power. No reading-to-get-to-sleep when you’re doing this.

3. Break Down the Structure

The surest way to get a grasp on plot and story structure is by consciously breaking down the structure in books and movies–as I do regularly for the Story Structure Database. How do I do this?

Start with an easy shortcut: divide the total page count of a book or the total running time of a movie by eight. Why? Because the major structural moments happen at each eighth of the story:

1. Inciting Event (12%)

2. First Plot Point / End of the First Act (25%)

3. First Pinch Point (37%)

4. Midpoint / Halfway through the Second Act (50%)

5. Second Pinch Point (62%)

6. Third Plot Point / Beginning of Third Act (75%)

7. Climax (88%)

For movies, I use my handy dry-erase board notebook to note the approximate minute of each turning point, so I can easily watch the run time and take note of what’s happening.

For books, I use little Book Darts bookmarks to mark the appropriate page at each turning point.

This way, I’m not totally adrift within the story. I can watch the clock or the page count and know to be on the watch for the respective structural moment roundabout there.

This is a fabulous way to grasp story structure as a whole and, just as importantly, to understand how the various structural elements can manifest in vastly different ways from story to story.

You can study my many examples in the Story Structure Database.

4. Examine Your Reactions

Whenever you finish a story, give yourself a moment before rushing off to the next thing. Just sit there and think about your reactions to what you just experienced. Ask yourself:

How did the story make you feel?

What did you like about it?

What did you dislike?

Do you think it was an objectively good story?

Did you dislike it anyway? Why?

Do you think it was an objectively problematic or even bad story?

Did you like it anyway? Why?

Within the answers to these questions lies your greatest opportunity for growth as a writer. If you can distill your often nebulous feelings about a story down into logical facts about what made you feel that way, you will then be able to add other authors’ effective weapons to your own arsenal.

I use this technique after every story I read or watch. It’s where I get the ideas for fully half the posts on this site.

5. Transcribe the Prose

This trick is especially useful if you’re trying to crack the code of, not just great storytelling, but great writing. What is it about some authors’ prose that makes it sing so effortlessly and powerfully? The whole point of great prose is that it’s flawless: we’re not supposed to think about it, we’re not supposed to see the cracks where the pieces are joined together. If we saw the cracks, that would defeat the whole purpose.

As a result, simply reading great prose isn’t always the most effective way to learn how to write awesome prose of your own. What you need to do is sit down with a notebook and pen and a favorite book–and start transcribing passages. I recommend doing this longhand, with an actual pen, since this will slow you down and force you to think about and absorb each word and punctuation choice.

I used to do this every day, and it never failed to amaze me how it allowed me to suddenly see the building blocks the authors had used in crafting their prose. Their seemingly inimitable mastery of wordcraft was suddenly within my grasp. It was something I could learn–and that you can too!

Afraid Studying Will Ruin Your Reading? Don’t Be

Although you can learn from other authors, such as me, who break down stories and share what they’re learning in blogs and books, you’ll get more out of the experience by also doing it yourself. Start approaching your book reading and movie watching purposefully with an intent to logically identify and utilize the tools handed to you by authors you love.

But what if it ruins your reading and watching?

It’s true, it might. Some authors use these practices and find themselves growing hypecritical. But, frankly, it shouldn’t. The more I learn to identify how other authors are using the craft, the more I appreciate their stories. Give it a try. You’ll transform both your appreciation of stories in general and your own writing.

[castielgeralt]

Técnica + Intuição + O desejo de fazer as pessoas felizes.

Atuação para: Tv,Teatro & Cinema.

[castielgeralt]

Emotional Flexibility exercise:

1. Sense Memory of guilty 2.Personalization of someone you love and hurt 3. Sensory Condition: feeling guilty,feeling lost,feeling afraid of.

- Susan Batson

[thaliaromme]

Make your world real for yourself.

Churcher, Mel. A Screen Acting Workshop .