Stanislavski: On The Threshold of the Subconscious

This is, thankfully, the final chapter of An Actor Prepares. Like Elena, I think that this chapter was mainly a lot of tying up lose ends and summing everything up; which is what a good final chapter does. It went further into detail about things such as the subconscious. I think that this is a good thing to explore, since there is little known about it. I also agree with Elena that maybe it would not be called the "subconscious" if you could tap into it at will, but I also do not think that this is what the book is telling us. I think that it is saying that we, as actors, can sometimes lose ourselves in a role (which sounds romantic, but probably isn't). I think that it is okay to lose yourself in a role, but only if it is for a very short space of time. If an actor becomes too consumed with a character that he is playing, he is sure to lose his own identity; which is never safe to do.
In conclusion, I have found this book to be helpful in most ways and am planning on keeping it and referencing it again in the future. I feel that it will be a great tool for my future acting career. I also hope that I have retained enough from it to start incorporating it into my acting style.

Stanislavski: The Super-Objective

The 15th chapter is about how each play has what is called a super-objective, or one major theme or goal to it. Every action, objective, or tactic should always work towards this one goal. To quote the book, "The common bond must be so strong that even the most insignificant detail, if it is not related to the super-objective, will stand out as superfluous or wrong." I thought that this sentence summed up the term super-objective pretty well. The better the play is written, the more of a super-objective it has; if a play is weak or bad, it may be up to the actors to create their own super-objective. The part that made me best understand the content of this chapter was the drawings done by the Director. I understood better that if an actor has a super-objective, they are able to move in a smooth line to get to that; but if they do not, they must go all over the place to find it, which just ends up in a mess.

Stanislavski: The Inner Creative State

Chapter 14 is about an actor's inner creative state, which is the mood that an actor is in to act. For example, if any actor says that he is "not in the mood" to perform, it either means that his creativity is not working correctly, or at all, or it has been replaced by mechanical habits. I get this feeling a lot in the rehearsal process. Unless I am deeply in love with the show (which is rare), I get bored with it about the week before it opens. But once the time get closer, I become more excited about it all. Having an audience really helps with this, too. The advice given by the Director about this very problem is that an actor should always refresh a role before every rehearsal/performance. If an actor does not do this, he is more than likely going to present the shell of a character to the audience. I thought that this advice was helpful and hope to be able to incorporate it into my acting.

Theatre Management Vocabulary

· Agit-prop production: created to disseminate propaganda by theatrically agitating an audience and thereby moving it to take future action.
· Guerilla theatre: political in content and propagandistic in purpose.
· Mission statement: serves as the standard by which a venture is ultimately judged to be a success or failure.
· Theatre or arts manager: any person who plays a part in bringing together or facilitating two or more of the four elements (performer, material, place, audience).
o Any person who helps bring labor and capital together in order to produce an end product (economist)
o May be anyone who has influence over the organizational behavior of a given internal and/or external theatre environment (sociologist)
· General manager: someone who supervises the entire process from beginning to end.
· A manager may be anyone involved in the following functions:
o Planning
o Organizing
o Staffing and casting
o Supervising
o Controlling
· Commercial producer: someone who decides on a property to produce (a play, a musical, a one-person show) and a venue in which to perform it.
· Trustees: responsible for the legal, fiscal and overall conduct of not-for-profit organizations.
· Impresario: an outdated term for producers who rarely own their own theatres.
· Shelled space: a space that is left as a raw, unfinished space to be completed at a later time when more funding is available.
· Pro forma: describing something provided in advance to prescribe form.
· Backers’ audition: commercial theatres will invite investors to come and see a staged reading or song to sell shares.
· Stop clause: a weekly box office gross amount that is agreed to in the license.
· White contract: a contract used for principle actors.
· Pink contract: a contract used for chorus actors.
· Showcase code: a code that permits producers to collect contributions from the audience or charge them a limited ticket price, but restricts the budget, the number of performances to 16, and the size of the theatre to fewer than 100 seats.
· Fiscal agent: can serve as the recipient of contributions on behalf of the group.
· Artistic board: a board that is often comprised of established artists who wish to support a company but are unable to do so financially.
· Enhancement money: given in the form of a contribution to help develop a particular property that the producer hopes will transfer to Broadway.
· Presenters: theatres and administrators who concern themselves almost exclusively with presenting productions that have been produced by others.
· Open-ended run: a production will continue at a theatre as long as it earns a minimum weekly amount at the box office.
· Fixed run: a production is booked into a theatre for a specific, limited run, usually ranging from one to twenty-six weeks in length.
· Budget: a financial estimate of future income and expenses.
· Financial statement: documentation of past expenses and revenues over a finite time period: monthly, quarterly, or annually.
· Break-even: weekly operating cost.
· Business manager: a person whose daily routine is keeping financial records, paying bills, making deposits, or supervising such activities.
· Petty cash fund: a separate cash – loan or advance – fund set up to cover small expenses.
· Cash float: the time between when the charge is incurred and the time it must be paid (using a credit card).
· Independent contractor: a person or group paid by a fee from which no tax deductions are made.
· Depreciation: the proportional part of the cost of an asset that has been allocated to a particular period, such as a year.
· Hard tickets: tickets reprinted by a ticket printing house.
· Soft tickets: ticket stock; used in ticket printers kept in the box office for a computer-based system.
· Point of purchasing printing: this computer system mentioned above.
· Hardwood ticket: a numbered blank form on which authorized managers or treasurers may fill in the appropriate seating information to issue to the customer in lieu of an actual ticket.
· Deadwood: all unsold tickets that remain after the performance for which they were valid.
· House seats: seats held for the use of the landlord or producer or company as authorized.
· Press seats: seats for opening nights and other performances as authorized by the press agent or publicity director.
· Dead seats: seats that may not be used at all because they have obstructed views of because they have been removed to make space for musicians or some other purpose.
· Agency seats: seats permanently assigned to be sold by ticket agents, which are paid for by the agency or released for general sale at a specified time prior to each performance.
· Special seats: tickets held until a specified time by the star, the director, or others and to be paid for by them or by the persons authorized to claim them.
· Go clean: to sell every seat in a house.
· Contributed income or unearned income: grants, contributions, and in-kind gifts.
· Grants: contracts to buy specific services.
· Foundation: an incorporated nonprofit organization set up to distribute funds or grants to people or projects that meet certain, and very exacting, criteria.
· Contribution: the generic term for all types of unearned income.
· In-kind gifts: a type of corporate support; they may be in the form of goods or equipment.
· Marketing: all the functions required to get goods or services from the production stage to the final user.
· The Marketing Mix or The Four P’s: product, price, promotion, and place.
· Three More P’s: positioning, packaging, and people.
· Advertising: any type of promotion that is paid for in increments of time; such as a newspaper ad or billboard space.
· E-Marketing: all online activity, such as website, email marketing, and e-newsletters.
· Personal sales: all non-media personal contact, such as telemarketing, or a table set up at a mall or fair.
· Merchandising: all commercial type communications, such as t-shirts, cups, and other merchandise that carries the logo of a particular company or show or institution, when those items are given away for their promotional value as opposed to those sold in theatre.
· Unpaid promotion: those that leverage, or generate free media coverage.
· Publicity: any mention or coverage about an organization or its products in the media that is not paid for.
· Public Relations: general efforts over a period of time that attempt to increase public awareness, interest, and support for an organization and its products.
· Sponsorships: can generate considerable free coverage.
· Customer profiling: the process of using relevant and available information to describe characteristics of a group of customers and to identify what discriminates them from other customers or ordinary customers.
· Publicity Plan: must be an integrated component of the overall marketing plan, from selling tickets to supporting fundraising efforts to increase visibility.
· Press interview: a one-on-one question-and-answer session between a media representative and someone else.
· Public Service Announcement (PSA): contains much of the same information and wording as a press release written for the print media, except that it is intended to be read over the air.
· News tip: simply a memorandum sent in writing or emailed to appropriate media people, informing them about some special activity that they may consider newsworthy enough to cover in person.
· Video News Release (VNR): a video clip, approximately a minute or two in length, usually produced commercially, and made available to television stations and networks by satellite feed.
· Logotype (logo): when a trademark incorporates the name of the product.
· Signature (sig): when the logo (or name) of the product is used in combination with the symbol of the product.
· Display advertising: any printed promotional piece that uses composition and layout that go beyond straightforward reading material.
· Precanceled stamps: stamps that are purchased at the post office and affixed individually by the sender.
· Postage meter: stamps that the sender must purchase in meter from a manufacturer who also supplies a license application.
· Permit imprints: a permit number that is supplied by the local post office and printed directly onto the mailing piece at the same time that the rest of it is printed.
· Advertorial: a section of a newspaper or special edition of a magazine that has approximately fifty percent editorial selections and fifty percent advertising.

Stanislavski: The Unbroken Line

Chapter 13 is about how each character an actor portrays must have what is called an unbroken line. Actors are sometimes only given a few lines to convey an entire group of emotions. The actors typcially have little information on the characters they are playing and therefore must create histories or stories using their imagination. Once again, it is pointed out in this chapter that paying attention (or giving attention) to the audience is an acting flaw and should be banished from any actor. There needs to be a constant flow from object to object, which may include imaginative thinking.

Stanislavski: Inner Motive Forces

The 12th chapter of An Actor Prepares is about how we all act with our mind, feelings and will. These three things live in balance and in harmony, each actor having their own. The Director describes some of Shakespeare's famous roles, pairing them with one of the three inner motive forces. Romeo or Othello emphasize the emotional side, Macbeth is very willfull, and Hamlet depends on intelligence. I thought that this was pretty interesting and wonder which type of actor I am. If I had to guess, I would probably go with emotional, but I'm not too sure about it.

Stanislavski: Adaptation

Chapter 11 of An Actor Prepares is about Adaptation. The chapter is about being able to adapt your emotions to what is happening on the stage, just like the real life. Even though you already know what is coming next in the script, you need to be able to fake it well enough to fool the audience (and your scene partner) into believing that this is all very real. These actions need to appear as they would in real life. One way for this to go wrong is if an actor pays too much attention to the audience's reaction, as opposed to his scene partner's; which I have seen happen too many times in my experience.

And as a final thought on this chapter:
"Finally there are actors whom nature has maltreated by endowing them with monotonous and insipid, althought correct, powers of adjustment. They can never reach the full rank of their profession."
^^ Keanu Reeves, anyone? :)

Theatre Management 17

The final chapter in this book is called Facility and Audience Management. I guess that I never thought about facility and audience managers. It makes sense to me now, though, that the facilities manager would be in charge of keeping the theatre physically up to code and shape and that the audience manager would be the image of the operation to the public. The audience (or house) manager works for the landlord and it responsible for the rest of the housing staff (such as treasurers, ushers, doormen, and maintenance). My favorite part in this chapter was the section on handling drunks, hecklers and other disturbances. We have had a lot of trouble lately with text messagin during our performances and, although this is not nearly as bad as dealing with drunks or protestors, it is still a disturbance that needs to be dealt with in a calm manner. From what I know, our house staff does an excellent job of tackling these kinds of things.

Theatre Management 16

The 16th chapter of this book is about Advertising and the Sales Campaign. Advertising is the most expensive endeavor a theatre company may face and no theatre company ever has enough money for the amount of advertising it would like. This chapter also lost me a bit in some areas, because there is a lot to consider when working on an advertising campaign. This chapter should come in handy, however, for when I start to work on my project to pitch an advertisment opportunity to a local business for an upcoming show. I also liked the photos provided of famous theatrical or show logos; I was able to recognize and remember a great deal of them. This would indeed be a great book to own if someone were to go into theatre management; it goes into great detail about everything.

Theatre Management 15

The 15th chapter of this book is called Publicity and Media Relations. It discusses the importance of these two things in managing a theatre company. Of course, the main objective of publicity is to gather a large and supportive audience. If publicity is done correctly, it will branch further out than just that; the audience will soon turn into monetary donors. The chapter goes into detail about how to develop a publicity plan; and also about the promotion office, whose job it is to dispense information for the good of the company. This chapter would be a very helpful one to have while dealing with promotion and publicity. It gives a lot of good pointers on how to be success and also hands out a few ideas to get a company started on this.

Stanislavski: Communion

“If communication between persons is important in life, it is ten times more so on the stage.”

This chapter talks about communication between the actors on stage (to each other) and the actors to the audience. The quote above sums up the chapter pretty well. I didn’t fully understand this chapter but I did get that communication is a hard thing to accomplish fully on the stage. Actors tend to become distracted a lot and get pulled out of their scenes; taking the audience members with them. Actors are also known to imitate feelings, as opposed to trying to create their own. The Director continued with his lesson by testing them. He watched them work with their partners and would ring a bell when they did not make direct contact with their object, show off their part or themselves, or they are speaking their lines impersonally. I think that this is a good exercise and would potentially help actors to better understand what is meant by all of this.

Theatre Management 14

The 14th chapter of this book discusses Marketing. The book describes Marketing as involving "all the functions required to get goods or services from the production stage to the final user." I thought that this was a very good definition and thoroughly describes what Marketing is. This chapter was also kind of interesting to me. Once we got away from all of the complicated money stuff, I started to like this book more. I can kind of understand Marketing more than other areas of management and would probably go into this portion of it, if I were to chose it as my career path. The aspect of Marketing that I would not like, however, is research. I am not fond of research and would not like to do a whole lot of it. I also do not like telemarketing; I once had to make phone calls for Barack Obama's Presidential Campaign and I absolutely hated calling up strangers and bugging them.

Theatre Management 13

The 13th chapter is about Fundraising and Combined Income. I learned that the 4 basic sources of contributed income are: the government, foundations, corporations, and individuals. These were not all together shocking, but I had never considered or thought about it before reading about it. I enjoyed reading about the grants, because Dr. Bartelt and I have been discussing writing a grant proposal for the GSA. I also liked the part about the Basic Elements in Successful Fundraising. This part could also pertain to the GSA in our continuing efforts to raise our own money and no rely solely on the Student Senate to fund us. This was probably the best chapter that I have read; I understand a large part of it and noticed that it would easily fit into some aspects of my life; unlike the rest of the book.

Theatre Management 12

The 12th chapter of the book is about the Box Office, Ticketing Systems and Other Earned Income. This chapter talks about the tools needed to run an effective box office, as well as the style of it, the correct personnel to hire, and ticketing. I did not even think about the fact that box office treasurers should be responsible for keeping the area clean, because maintenance workers should not be allowed into the room. I had no idea that so much work went into the box office. I guess that this might be because I have no experience in the box office, or because I am only at the collegiate level at the moment, but it was neat to read about the in depth work that lies ahead for people who choose to manager a box office in a theatre company.

Theatre Management 11

The 11th chapter in this book is about Cost Control Strategies; another confusing one for me. For the most part, I was able to follow the earlier chapters in this book, but it's seeming to get more and more confusing for me. One part that I found helpful was the part about how to internally control a business office. This is something that could help your theatre company thrive or completely destroy it. It is a resposibility of the manager to hire reliable, trustworthy people to work at positions such as these; where they are constantly dealing with private and confidential records.

Stanislavski: Emotion Memory

The 9th chapter of An Actor Prepares is about being able to dig into your own personal memories to help you act. This chapter was also interesting to me; I like the stuff that goes into the pyschology of the performer. One part of this chapter that stuck out in my mind was when Kostya was walking home from class one afternoon. He came across a horrible accident in the middle of the street. Since this event was branded into his memory, he kept recalling it throughout the next few days; with the perspectives in his mind changing.
Some good advice given by the Director in this chapter is that actors should not try to chase after an old inspiration, but "bend your efforts to creating a new and fresh inspiration for today." That's intriging to me, because it talks about the idea of changing something every single day of performance; which also scares me a little bit. I'm an actor who needs repetition in order to successfully perform, but I also really like the idea of being able to change it every single night. It is the ultimate test of character development and staying in the moment.
Perhaps as my acting years go on, I will becoe brave enough to try this out more often. I don't usually do it, because I don't want to freak out the other actors on stage. I would feel really bad if I did something off and they got scared or broke character.

Stanislavski: Faith and a Sense of Truth

The 8th chapter of An Actor Prepares is about finding a sense of truth in your acting. I did not know if I was going to like this chapter, because my friend said that she did not like it after she read it. But, I found that I really liked this chapter for some reason. It talks about how when a person acts, they must use truth and a sense of belief. To quote the Director, "Truth on the stage is whatever we can believe in with sincerity, whether in ourselves or in our colleagues." This is completely true; I have been told by multiple directors that you need to believe what your fellow actors are saying and react to them. This creates a more truthful atmosphere for the audience (as well as for the actors on stage).
An actor must be able to observe himself thoroughly to be believable. In an exercise written about in the book, one female classmate of Kostya's did a monologue about finding a baby on her doorstep who later dies in her arms. She does this effectively, since she once dealt with a personal tragedy involving her own child, but she did not do it realistically. Another girl got up after her and did the same monologue. She was not in hysterics, as the first girl was, but was more realistic about it. Her version was much more effective for the class.
This is a chapter that I will have to look into more later on; I think it will be immensely helpful to my acting career.

Theatre Management 10

The 10th chapter is about budget planning. I found this chapter to be especially boring; I don't understand things like this and it was difficult to read. It would be easiest to have a budget from the previous year to go off of. New companies must figure out a budget completely from scratch, which seems practicularly difficult. If I were to be managing a theatre company, I would not be the person to figure out the budget. I'm no good with that and would probably be responsible for the demise of the company.
I did not understand most of the terms in this chapter, either; even when they would explain them. I think that in order to understand this chapter, a person must have prior experience in budgeting or business. I don't quite recall what this chapter was entirely about, because it all went over my head. I would need to read the chapter numerous times to actually understand it. That's the hardest part of this class for me; I don't learn that well by just reading something.

Character Analysis Blog

I thought that my performance of Helena from All's Well That Ends Well was not what I could have made it. I guess that I didn't look deep enough into the text at the time and realized afterward that there was a lot more I could have done with my monologue. What I did in that monologue was what I usually do in most of them and was very safe of me. I need to be able to step outside of my boundaries soon and become comfortable with those things on the outside. I always get these great ideas in my head and then quickly forget them as soon as I get on stage. I also don't think that my tactical changes were as obvious as they needed to be and could have used more work.

Victorian London

Chapter 9 talks about London during the Victorian era. I did not know, for one, that railways were first built in England at this time. It was interesting to read about the effect this newcomer had on the poorer classes of London; for one, the railways were built mainly by Irish imigrants who were often forced away from their families for the job.
A riot broke out between English bricklayers and Irish railway worked in 1846. Reading the accounts of this event were also pretty interesting, but that may be because I'm interested in reading about those types of things (you know, interesting things and such).

The Industrial Revolution & The Metropolis(h) of Nash (London style)

Le chapter numero 9 is about, well, the industrial revolution of the 20th century. Half of the information in this chapter (or book, for that matter), I could care less about. I'll find tiny interesting tidbits (like the fact that during Georgian times, children often drank beer as well, because the water was unsafe) but these tidbits will be inside of a haystack of useless and boring information (such as the population of London and surrounding areas of the time period). That is about all I can muster about this chapter at the moment. Sleep calls...perhaps more tomorrow. Perhaps...

Stanislavski: Units & Objectives

First off, I would like to express my joy at the fact that Kostya was finally able to return to his lessons. That was a great relief on my part.
Secondly, I dreaded this chapter just from it's title. Objectives and tactics are hard things for me to accomplish; I can unit a script well enough, but once I need to figure out what my character wants and how they are going to get it, then I am in trouble. But comparing units to a turkey? Really? It kind of made sense, actually; especially the sauce part. I guess that sometimes people need weird analogies to help them better understand things. Hey, whatever floats your boat, man.
I liked when the director said "the mistake most actors make is that they think about the result instead of about the action that must prepare it." This is immensely true and I know that I am guilty of doing that often. Studying Shakespeare with Professor Fiebig has really helped me step away from that; since he uses Stanislavski's way of uniting and objectifying a script. It provides helpful insight into the mind of your character(s).

**I apologize for the hint of cynacism in this blog. I fear that I am beginning to fall asleep.

Stanislavski: Relaxation of Muscles

The 6th chapter of An Actor Prepares is about relaxation techniques for actors and the importance behind them. This chapter was interesting to me in the way that it was written. At the start, Stanislavski injures himself during an acting exercise (because he is so nervous) and becomes unable to attend class for a few days. He gains his knowledge on the subject through classmates coming to visit him after every day’s lesson. The way they describe muscle relaxation in this chapter is that the actor must have an extra amount of concentration while performing and focus on staying relaxed until this relaxation begins to happen subconsciously. I found the exercise of lying on the floor and practicing relaxing all of your muscles to be very realistic and easy to do. I think that maybe we should start doing this before each rehearsal. It might help our actors out a lot!

Georgian London

The 7th chapter of this book is about the city of London during the Georgian period in history. One of the most significant developments in London at this time was the development of brokers and bankers and the establishment of loans, credit and debts. Authorities in England took debt incredibly seriously; arresting thousands of people who had even a minimal amount of debt. Debt was seen as something to be acquired by the nation as a whole, not by individuals. I also found the parts about composer Handel interesting. I have performed some of his Messiah piece before in choir in high school.

Theatre Management 8 & 9

Chapter 8 is about Stock and Dinner Theatre. Most stock and dinner theatres are nonprofessional and not-for-profit, as well. Earlier stock theatres were often built in resort towns and opened on during an eight- to twelve-week period. Most of the well-known stock theatres were created during the 1830s and 1940s and travelled around with various stars at the time. The chart found on page 176 shows the typical organizational structure of a stock or dinner theatre and these charts do not list actors or performers anywhere. These theatres deal with amateurs in the form of interns or apprentices.

Chapter 9 is about Presenters and Presenting Organizations; presenters are people who specialize in presenting productions that have been produced by others. These companies are run by producers, who find the presenters the shows, concerts and/or performances. Producers typically hire people called representatives, which include jobs such as booking agents, general managers, company managers, and many others. Presenters have been around since 1830 and have began to found their own organizations, including The Association of Performing Arts Presenters, formerly known as the Association of College, University and Community Arts Administrators.

Theatre Management 6 & 7

The 6th chapter is about Community Theatre, which got its roots in America in the late 1600s/early 1700s. Some things that people need to consider when opening (or re-opening) a community theatre are leadership (who will be willing and able to be leaders), membership (what type of community it will be based in), capital (how much income is likely to be generated), and a constitution and by-laws by which the theatre must be run. The chapter also includes a helpful list of the administrative structure of many community theatres. A part I found interesting was when the author compared community theatre to professional theatre. He says that the quality of the community theatre depends on what level of professionalism their members are willing to be.

Chapter 7 is about College Theatre. College theatre began as early as 1871 (The St. James Theatre in New York); which unfortunately followed a 45-year gap between the introduction of schools to train professional actors and the 4-year college theatre program. Between 1914 and 1950, the growth of college theatres was large. This was the largest growth in American history thus far and is partially because of the two World Wars that America was facing. These wars attributed to the liberalizing effect that foreign countries had on youth. After a brief history of American college theatre, the chapter begins to explore the method of managing a college theatre. It mainly depends on the theatre's roll in the institution; a college devoted mainly to science and mathematics would have a very small theatre (if any at all) compared to a college dedicated to liberal arts. The chapter also discusses how to chose plays for your college theatre to produce. Various factors for these include: budget, audience, actors, technical aspects, and many others.

Restoration London

In 1666, a Great Fire burned through the city of London and destroyed much of it's historical background. This chapter focuses on the history of London during the Restoration period. After discussing the Great Fire, the author moves on to talk about the Royal Society, which is the oldest scientific society in the world. He also discusses how things were re-built in London and other historical facts about significant people, such as Charles II's brother, James II, and his illegitimate son, the Duke of Monmouth.

Theatre Management 5

The fifth chapter of the Theatre Management book is called Not-For-Profit Professional Theatre. Many of today's nonprofit theatres stew from the commercial companies of the 1800s, but they have also created their own brand of American theatre. The board of trustees to these theatres are not interested in commercial gain, but rather in artistic and/or organizational purposes.
Some of the earliest indications of nonprofit theatre include classes taught in the early 1900s on college campuses in what is known as the Little Theatre Movement. Also, the administration of President Franklin D. Roosevelt provided funding for the arts through Works Progess Administration (WPA) to help millions of Americans regain jobs after the Great Depression. In the 1970s, the nonprofit theatre quickly became the largest branch of the American theatre industry.
The chapter also discusses how to organize a not-for-profit theatre as well as the leadership required for these theatres to run successfully. Various diagrams and examples of things such as mission statements, Actor's Equity contracts and how to hire a Board of Trustees are seen throughout the chapter, as well. There are descriptions of the various positions required for these theatres (artistic directors, for example); along with what is needed for certain sizes of companies (large, meduim and small).

Theatre Management 4

The fourth chapter of the Theatre Management book is about Commercial Theatre. This chapter discusses the history of Commercial Theatre in the United States. It begins with theatres in 1752 and ends at present. I found the differences between the theatre companies kind of interesting. I did not know that they changed so often or so much.
1752-92: I found it interesting that every actor who was part of some of the earlier companies had to own a share of that company; then the actor could make a bit of profit off of it. Also, the leading actor was typically also the company manager, which seems like an absurd amount of work.
1792-1860: The nation's first native-born actor, Edwin Forrest, did not make his debut until the year of 1820, which seems like a long time considering how long theatre companies had been around America before then. I also found it interesting that most actors played characters according to their type, especially when the goal of most actors today seems to be breaking away from their "type".
1860-96: resident stock companies were practically killed during this era because of the invention and expansion of railways. What was called a "combination company" dominated the times; they would travel to different destinations with their props, scenery and costumes.
1896-1914: since many resident theatre companies had been disbanded, the buildings were typically owned by local banks and investors whose primary focus was to simply make a profit anyway they could. Also, the advent of vaudeville theatre occurred during this time.
1914-60: electronic entertainment took off in 1915 with the film Birth of a Nation. People flocked to movie theatres and away from playhouses partly because of the cheap pricing of movie theatres. Also, movies were a brand new thing and people wanted to test this out. The collapse of the U.S. stock market in the 1930s contributed to the near demise of commerical theatre in the country. To help with films rivaling theatres, television was invented and became available to the public in the 1950s.
1960-90: Broadway theatre became a huge tourist-oriented business during this time and focused its attention mainly on comedies and musicals to keep its crowd entertained.
1990-today: according to the book, the most significant theatrical event of the 1990s was Broadway's adaptation of Walt Disney's classic Beauty and the Beast. This established a major new corporation between the New York City Broadway scene and Walt Disney Studios.

Tudor and Stuart London

I think that the author of this text is insane. Of course you cannot 100% accurately reconstruct a performance at The Globe the exact way Shakespeare did it. It is impossible to do this and I think that the author is too harsh about it. If they did not have these modern convienences, very few audience members would attend. Also, it's confusing if you are not from England and reading this. Sometimes the author uses British slang that I do not understand and that loses me for a while.
The author uses numbers attached at the ends of sentences that need further explanation, but I cannot find where these statements are explained. The author has such odd transitions, too, between topics; he switches so often that I find it difficult to follow along or become involved. I understand that he wanted to keep the book short, but I feel like he tried to cram too much into one tiny book.

Chaucer's London

I was very confused by this chapter. It began talking about the London Bridge and went into talking about the writer Geoffrey Chaucer. By the way, the fact that they would display the heads of people on the bridge is greatly disturbing. I can't imagine that it would be that lovely to be walking across the London Bridge accompanied by tons of human heads; this seems rather frightening.
The author of this book seems to really hate everything about modern London and loves everything about London's history. I don't quite understand how he is able to live in London with feelings such as these; especially since it's such a tourist heavy city. I hope his opinions get a little bit better about this things as the book goes on.

Character Analysis info

Helena - The play's heroine. The orphan daughter of a great doctor, she is the ward of the Countess of Rousillon, and hopelessly in love with the Countess' son, Bertram. Her good qualities are attested to by nearly every character in the play, and events prove her a resourceful and determined woman, who is not easily discouraged by setbacks.
SparkNotes.com. “Characters.” All’s Well That Ends Well. 2009. <http://www.sparknotes.com/shakespeare/allswell/characters.html.>

According to this book, Helena can seem, on the page, to be single-minded and shameless; especially when she tricks Bertram into staying with her by fooling him into impregnating her. She ends up behaving like Bertram at the end of the play when she does this to him. Also according to the book, although these actions show Helena in a bad light, they completely contradict her actual nature entirely. Helena is “radiantly beautiful” and is loved by everybody that she encounters (except Bertram). Helena acts loving and dutiful towards the Countess and warm and friendly towards the Widow and her daughter, Diana. The play’s balance and radiance comes from the character of Helena and her showing up at the end to wrap everything up is a very common thing among theatre.
McLeish, Kenneth, and Stephen Unwin. A Pocket Guide to Shakespeare’s Plays. Chatham, Kent, Great Britain: Mackays of Chatham P.L.C., 1998.

This book states that Helena’s role is not a new one; it is in fact a reversal of a very old role. There have been thousands of stories told about a young man who is faced with some sort of “impossible quest” and is rewarded with a beautiful Princess, way out of the young man’s league. This is clearly reversed in the way that Helena cures the King and wins Bertram. This introduction to the play discusses mainly this theme and the effects it has on the play itself. It also says that Helena (as well as Bertram) “push the envelope” with their generic gender types. No other character before Helena had been publicly rejected by the man she loves. Because of this, no other female character has had to resort to such drastic measures to seek a remedy.
Greenblatt, Stephen, et al. The Norton Shakespeare: Volume 2: Later Plays. Oxford University Press and W.W. Norton & Company, Inc., 2008.

Helena Monologue

HELENA
Then, I confess,
Here on my knee, before high heaven and you
That before you, and next unto high heaven,
I love your son.
My friends were poor, but honest; so's my love:
Be not offended, for it hurts not him
That he is lov'd of me: I follow him not
By any token of presumptuous suit;
Nor would I have him till I do deserve him;
Yet never know how that desert should be.
I know I love in vain, strive against hope;
Yet, in this captious and intenible sieve
I still pour in the waters of my love,
And lack not to lose still. Thus, Indian-like,
Religious in mine error, I adore
The sun, that looks upon his worshipper,
But knows of him no more. My dearest madam,
Let not your hate encounter with my love
For loving where you do: but, if yourself,
Whose aged honour cites a virtuous youth,
Did ever in so true a flame of liking
Wish chastely and love dearly, that your
Dian Was both herself and Love; O! then, give pity
To her, whose state is such that cannot choose
But lend and give where she is sure to lose;
That seeks not to find that her search implies,
But, riddle-like, lives sweetly where she dies.

Helena Monologue: Folio Version

Hell.
Then I confesse
523: Here on my knee, before high heauen and you,
524: That before you, and next vnto high heauen, I loue your
525: Sonne:
526: My friends were poore but honest, so's my loue:
527: Be not offended, for it hurts not him
528: That he is lou'd of me; I follow him not
529: By any token of presumptuous suite,
530: Nor would I haue him, till I doe deserue him,
531: Yet neuer know how that desert should be:
532: I know I loue in vaine, striue against hope:
533: Yet in this captious, and intemible Siue.
534: I still poure in the waters of my loue
535: And lacke not to loose still; thus Indian like
536: Religious in mine error, I adore
537: The Sunne that lookes vpon his worshipper,
538: But knowes of him no more. My deerest Madam,
539: Let not your hate incounter with my loue,
540: For louing where you doe; but if your selfe,
541: Whose aged honor cites a vertuous youth,
542: Did euer, in so true a flame of liking,
543: Wish chastly, and loue dearely, that your Dian
544: Was both her selfe and loue, O then giue pittie
545: To her whose state is such, that cannot choose
546: But lend and giue where she is sure to loose;
547: That seekes not to finde that, her search implies,
548: But riddle like, liues sweetely where she dies.

Character Analysis: Blog 1

So far, for my character analysis of Helena from All's Well That Ends Well, I have united my monologue, figured out objectives and tactics, found a folio version of the monologue, and read my scene through a few times with my partner, Eric Villhauer.
I will be presenting my monologue in class tomorrow and meeting with my scene partner sometime this week to work out blocking. We have some wonderful ideas for our scene; we've got a really hilarious scene to work with. I chose Eric as my partner because I knew that we would be able to work well together and he could pull off the role of Parolles.
I've got some material to work with for my monologue. At KCACTF I went to a workshop by dialect and Shakespeare expert Paul Meier called Acting Shakespeare and he used the monologue as an example. He went into the monologue and picked it apart piece by piece, so that should help me successfully complete the assignment.
I've also got a bit of a heads up from my Directing class. I chose a different monologue from the same character to direct Kylea Dieken in; so this may help me to better understand the character as well.

Stanislavski: Concentration of Attention

The fifth chapter of An Actor Prepares is about concentration on the stage and ignoring the fact that there is an audience there. To quote the book, "in order to get away from the auditorium you must be interested in something on the stage." This is usually a hard thing for actors to do; to separate themselves from the audience that is undoubtedly there. They must occupy themselves by playing with props, textures, fabrics, and other things onstage. This also helps to create a more realistic illusion for the audience.
In order to successfully do this, the actor must pay attention to their surroundings; both in the theatre and at home. They should become aware of the sights, smells, feelings, tastes, and sounds of things in their everyday lives. An actor also must be able to use their imagination alongside of these realistic attributes.

Theatre Management 3

The third chapter of the theatre management book is about theatre personnel. At first it discusses how no matter how a theatre is organized, the work is always divided into three categories: administrative, production and artistic. It talks about the most successful job combinations in theatres, such as producer and director, stage manager and lighting designer, lighting designer and electrician, and many more. The chapter also talks about how to hire for certain jobs, what type of ad to place and what kind of resume information will be necessary.
This chapter went indepth into the characteristics needed for effective personnel, the labor laws associated with these various positions. I did not find this chapter very interesting because I am not interested in running my own theatre or being in a position to hire people. The only part I found relatively interesting was the part about managing unsalaried personnel, such as volunteers, students, interns, and apprentices.

Theatre Management 2

The second chapter of the theatre management book is about finding a performance space appropriate for the needs of your theatre company. Some things to consider when searching for a performance space are audience potential and public access. Also, theatre owners needs to consider whether or not they want to buy, rent, or share an existing space. There are a dozen different things that need to be prepared in order to open up a new theatre; including: theatre consultants, architects, engineers, management personel, construction teams, designers, and many others.
Another thing to consider is a budget. A budget should be figured out and agreed upon before the building/renting/sharing of a space begins. Without a correct and stable budget, a theatre could fall until in a matter of weeks. You also need to consider what type of stage you will require. If a company has a large number of members and is expecting an even larger turn out of audience members, then they will need a space that can accomidate all of their patrons.
The most successful way of finding a proper space is to simply find on fit to your theatre's unique needs. It depends on several different factors and no one theatre company is alike.

Bibliography: Stella Adler's Acting Methods

Bibliography
Abrams, Joshua. "THE ART OF ACTING (Book review)." Variety 381.12 (12 Feb. 2001): 45. MasterFILE Premier. EBSCO. Luis V. Hansen Library, Forest City, IA. 1 Feb. 2009 .
"Adler, Stella." Britannica Biographies (Jan. 2008): 1. MasterFILE Premier. EBSCO. Luis V. Hansen, Forest City, IA. 1 Feb. 2009 .
Cole, Toby. Actors on Acting. New York, N.Y.: Crown Publishers, Inc., 1970.
Clurman, Harold. The Fervent Years. United States of America: The Colonial Press, Inc., 1957.
Hirsch, Foster. A Method to Their Madness. New York, N.Y.: Da Capo Press, Inc., 1984.
"History." Stella Adler. 2009. Stella Adler Studio of Acting. 1 Feb 2009 .