10 TÉCNICAS ACTORALES que TODO ACTOR debe conocer #1 | El arte (nunca más) secreto del actor

Well.

.

.

please forgive me for the voice I have now, but I have alergy since a month ago and, if squeak or something you know why it is.

So.

.

.

I've been thinking That there's a lot of people to talk about I know especially about acting stuff But I realised that we cannot simply start talking about all of them So.

.

.

following the YouTube's trend of making “top” videos.

.

.

Here are the ten acting techniques that every actor should know.

The acting.

The (never again) secret art of the actor.

We have talk a lot about Stanislavski in this channel.

Here's a video in which I explain everything in more detail.

But, roughly, we can say that Stanislavski was the first one who created an acting technique and wrote about it.

And he was the first one who talked about “LIVING” in acting work (organicity).

So: to live trustfully what it's going on on stage and to the character Michael Chekhov was a Stanislvaski's student, as I mention sometimes before.

And his technique was based on IMAGINATION.

His aims were, as Stanisvlaski's, to be organic and to create on stage but just using imagination, without anything about the actor's personal experience, which Chekhov thought that was unnecessary and limited.

Strasberg, as you know, was one of the teachers of the Actor's Studio.

(As we saw in this video) And his technique was absolutely based on EMOTION.

On what to make an actor feel and who to express what they feel.

Meisner was, as Strasberg.

.

.

Damn! I'm dying today! as Strasberg, a teacher in the Actor's Studio But, instead of basing on emotion, he based on the IMPULSE.

That is, he based on what thing could make you react, as a human being.

.

.

.

.

.

and how to use it on stage.

At last, for Meisner, everything was a set of impulses and reactions.

.

.

.

.

.

which developed a BEHAVIOUR.

.

.

.

.

.

.

and that created the character.

Indeed, due to its simplicity and effectiveness Meisner's technique is, if not one of the most, the considered the best for film acting.

William Layon was a student from Meisner.

“Maisner”, “Meisner”, whatever! And he created a pedagogy and a methodology basing on his technique, Meisner did a set of exercises and techinques for actors he didn't developed a pedagogy for it.

(Pedagogy: based on Meisner) From my point of view, we cannot talk about a “Layton's” technique but, about a “Layton's” pedagogy.

I talk about it due to the great impact that have had, particullarly in Spain.

In fact, some people says that there were no technique in Spain before Layton.

Come back to the Actor's Studio! Stella Adler, as you know, was the teacher of Marlon Brando.

And if we would have to define the Adler's technique in one word, it would be the “JUSTIFICATION” How to use the imagination and the thought for justifying the things that happen in a play.

With “justify” I mean that there are some times that, when you read a text it seem that the characters has no motivations for acting it.

Adler's techniques uses imagination and self-knowledge for apporaching hte text to you, and justify the text, in a way that you can create a character that fits with the text.

Vsevolod Meyerhold, also Stanisvlaski's student, followed a radical other path.

If Stanislavski based on living, meyerhold based his techique on the PLASTICITY (Biomechanics).

From Meyerhold's point of view, the actor had not to feel, and had not to use his/her personal experience at all.

The only thing that they had to do was to train their bodies.

In a way taht it become expressive.

For Meyerhold, the body's own plasticity carries with ALL the expression.

As you know, I could visit the Grotowski's Institute but when I were there, it was closed.

And, via mail, they didn't allow me to talk with them because.

.

.

I'm youtuber.

.

.

But, well, it's a public institution and that is that it's.

Anyway, the Grotowski's technique is terribly important! In fat, Grotowski wanted every actor to be a “Holy Actor” But, not with any religios connotations, or kind of that.

.

.

An actor has to be capable for “GETTING NAKED” (Holy Actor) to reveal him/herself to the audience.

So, the Grotowski's actor, doesn't create But, as an sculptor, delete the things that are not necessary until, but survives is the most perfect image of the expressive body of the actorp I don't know if we can really talk about a “Barba's technique” But he is really important in the history of acting techniques, because.

.

.

Eugenio Barba has been the fist one who really looked for the PRINCIPLES (Theatre Antropology) that every acting technique in the world, shares.

From the Occidental theatre (about which we are talking the msot in this video) to the Oriental theatre.

He talk about the “technique of the techniques” let's say.

Thanks to Barba's studies we can understand the links between all the techniques that exist nowadays.

The discipline in charge of studying this, is called Theatre Antropology.

As we said about Barba, I don't know if we can talk about a Boal's technique we we do can talk about a really concrete perspective about the theatre and the actor.

Augusto Boal had a clear aim with the theatre: to TRANSFORM (Multiplication and TO) the world.

Like this! Boom! And he created a set of methodologies and trainings for actors and also for non-actors capable for making a person's body and emotions effective on stage in a way that allow him/her to change the world.

And it's really important that there are actor and “non-actors” because, in Boal's point of view, the spectator has to have an active role in the play even acting within the actor's ensemble.

And this was the today's video, so far.

(REFERENCES AND BIBLIOGRAPHY IN THE DESCRIPTION) As the Instagram followers know, I've been in Wrocław, Poland sightseeing the city and stuff and i don't know if i will publish the vlog of my trip or not I warn you that I could make it.

.

.

any day I'm a bit unfocussed since I had some weird days.

.

.

but you know, we people are people and, we feel stuff sometimes.

I say you in advance that the channel will suffer some changes about which I will infor you in an special video.

And apart from this, I hope that you had liked this video and you have know a better overview of the acting techniques.

If you have any doubt, of course, ask me in the comments.

Share it! Spread it in social networks! Like this video! Really, you don't know how do you help me when you do it.

Specially with this, due to Scenic Arts are difficult to divulgate.

It's not an unpopular topic, but it's not a popular topic at all.

And, as I checked, this is the only channel in the world completely dedicated to Scenic Arts.

So, if you want to support Scenic Arts If you want that more people know more about what does the actors, scenographers, dancers, play-writters All those people who are there for each time that you go out to the street or go to a performance, and make you enjoy! If you want to learn who to enjoy it, suscribe and share! Thanks to all of you, and see you.

.

.

in the next showhearshal!.

Leave a Comment!