Practical Aesthetics; three main categories

Practical Aesthetics; three main categories

1. Philosophy; the guiding principles behind technique.

   • The guiding principles were inspired by some very ancient texts, and suprisingly few acting books
     • Aristotle Poets
       • Mamet argued tht if an actor can understand the principles of dramatic writing, he can progress to the interpretation of dramatic writing
       • Aristotle encapsulated many of the fundamental conventions of Western drama. He recognized a pattern of drama.
         • The essence of drama is conflict.
         • All stories have a beginning, middle and end.
         • Every play has at least on main chracter or protaganist
         • The plot is driven forward by the needs of the protaganist - it is how they encounter the antagonist
         • The antagonist provides escalating conflict
         • Every character in a story is one of three things: a protaganist,an antagonist or a combination.
         • Characters are defined by their actions.
     • The illusion of character
       • One of the most controversial challenges has to to do with the creation of character.
       • Mamet said character is an illusion created in the imagination of the audience. You don't have to believe the play is real, or become the character. It is better to simply try to indentify with a characters actions
         • The actor should ask themselves: Whose story is this? What is the main character's underlying need? What are the conflicts they encounter? How do these encounters alter the main character? Where does my role fit into the bigger picture?
     • Epicetus' Enchiridion
       • Leading teacher in Stoicism: who held the belief that an enlightened person would strive to determine what in life was within his control.
       • Mamet suggested that every actor is well-served by Stoicism - be brave enough to accept the things you have little control over.
     • The pursuit of emotion
       • Mamet said that attmepting to control emotions was an inconsistant wasy of working; it was actually detrimental to the process of storytelling. Although the subconscious may not accept direct suggestion, it can be encouraged to come out and play.

2. Script analysis; breaking a script down into usable language.

   • Mamet broke down the process into three steps (and Atlantic added one)
     • What is my character literally doing?
       • The purpose of this step is to give you a place to begin
       • Be as simple and literal as possible. Try not to determine what the character is thinking or feeling. Try not to be too interpretive
       • Phrse the step in the third person. When talking about a scene, say "The character is..." STAY OBJECTIVE
       • Use the popcorn test: create a simple sentence that covers what your character is oding in the scene.
     • What does my character want?
       • Phrase the want in the third person. Again, its extremely helpful to keep some distance between yourself and the character
       • Ask yourself, "What can my character get from the other character in this scene?". This will help you focus on a specific scene you are acting. Try to iddentify what your character wants the other character to do rather than feel.
     • What is the essential action of what my character is doing?
       • An action must be physically capable of being done.
       • An action must be fun to do
       • An action must be specific.
       • An action must have its test in the other person. (Determine whether you are suceeding)
       • An action must have a cap - an end goal.
       • An action must not be an errand
       • An action must not presuppose a physical or emotional state
       • An action must not be emotionally manipulative - should affect physical behaviour not emotions.
       • An action must be in line with the playwirght's intentions
     • What does the action mean to me? It's as if...
       • Phrase the "as if" in first person: It's the first subjective step of analysis.
       • Create as "as if" that captures the essence of the scene, rather than one that replicated the details of the scene. This will keep your imagination strong and supple, as well as allowing for a multitude of truths.
       • Make sure the "as if" is a story your imagination can accept. You are attempting to find a situation you can understand.
       • The "as if" should be an imaginary story - one that could happen but hasn't already happened. DON'T ENGAGE YOUR MEMORY.
       • Create an "As if" in line with the playwright's intentions
       • This is a rehearsal device, you should not be thinking this while in performance. Create the msucle memory, and the habit for that.

3. Performance technique; how one implements the analysis.

   • Use of language: Words can have infinite meaning, there is no one correct way to say the line. The writer has provided the context, the script analysis defines the action - the intetion. Then ask "How does my partner need to hear the line?"
     • Mamet suggests an improvisational approach.
   • The truth of the moment: An improvisation style of acting requires performer's to have an acute awareness of what is going on around them. The truth of the moment is everything that is transpiring while an actor performs any given beat.
     • Mamet wanted to eliminate the self-consciousness that derived from an actors believing there were certain thoughts and impulses that were in character and other that weere not.
       • Instead of trying to feel anger, perhaps focus on putting someone in their palce. Ask you "What will it take to put my scene partner in their place at this moment?
   • Repetition exercise: To overcome self- consciousness an actor msut put their focus/attention on something other than their fear or desire to please. Give your focus to your scene partner. Mamet adopted Meisner repetition exercise.