Haiku Review Challenge
After watching the short film How Stanislavski Reinvented the Craft of Acting . If you take the Challenge . Write a HAIKU REVIEW leaving your Haiku in the Comment section of this post . Express the views you feel about the ‘Moveable Painting’ [as I like to refer to GREAT short films.]
If this short film doesn’t inspire . A new short will appear next Friday in our Weekly Haiku Review.
The way I write Haiku is using the 5-7-5 syllable combination . I also often write more than one verse. It is an option . not a rule. Enjoy the fun and creativity of 1st) viewing the short film . 2nd) looking for your Haiku and creating it 3rd) sharing it if you so desire.
Here’s to the Haiku Review Challenge
Cheers! – j.kiley
A ROLE IS CREATED
Guts advance character
Ripping from experience
Truer depth is reached
The actors become alive
The performance breathes
James Dean . Natalie
Brando . Newman Paul . Monty
Marilyn . Acting’s true
© j.kiley ’17
Open to Full Screen For Best Viewing Experience
How Stanislavski Reinvented the Craft of Acting
Travis Lee Ratclif
In the 1950s, a wave of “method actors” took Hollywood by storm.
Actors like James Dean, Marlon Brando, and Montgomery Clift, brought a whole new toolset and perspective on the actor’s craft to the films they performed in.
The foundation of their work, however, was laid in Russia more than fifty years prior to their stardom.
Stanislavski’s conception of “psychological realism” in performance challenged ideas about the essential features of the actor’s craft that had been held for centuries.
In theatre before Stanislavski, acting was defined as a craft of vocal and gestural training. The role the actor played was to give life to the emotions of the text in a broad illustrative fashion. Formal categories such as melodrama, opera, vaudeville, and musicals, all played to this notion of the actor as chief representer of dramatic ideas.
Stanislavski’s key insight was in seeing the actor as an experiencer of authentic emotional moments.
Suddenly the craft of performance could be about seeking out a genuine internal experience of the narrative’s emotional journey.
From this foundation, realism in performance began to flourish. This not only changed our fundamental idea of the actor but invited a reinvention of the whole endeavor of telling stories through drama.
Teachers would adopt Stanisvlaski’s methods and ideas and elaborate upon them in American theatre schools. The result, in the 1950s, would be a new wave of actors and a style of acting that emphasized psychological realism to a greater degree than their peers in motion pictures.
This idea of realism grew to dominate our notion of successful performances in cinema. Stanislavskian-realism is now central to the DNA of how we direct and read performances, whether we are conscious of it or not.
I think it is important to know this history and consider its revolutionary character. Understanding the nature of Stanislavski’s insights allows us to look at other unasked questions, other foundational elements of our craft that we might take for granted.
Stanislavski’s books are still fascinating explorations of the craft of performance.
Check them out:
A Place in the Sun, A Streetcar Named Desire, Anatomy of a Murder, Baby Doll, Before Sunset, Blue Valentine, Carol, Cat on a Hot Tin Roof, Daisies, East of Eden, Giant, Grandmother, Kid Auto Races at Venice, Moonlight, On the Waterfront, Somebody Up There Likes Me, Splendor in the Grass, Taxi Driver, The Breaking Point, The Heiress, The Conversation, The Misfits, There Will Be Blood, Twentieth Century, Vaudeville: Early American Entertainment, Wild River
Appearing on ‘Expats Post‘ Wednesday 3rd January 2018