Uta Hagen.docx

Uta Hagen’s Acting Class DISK1 La actuación no se debe notar. You shouldn’t see the Performer or his mind. Autoevaluacion. Don’t be judgemental, it teaches nothing. Why is it convincing? Stages of disillusion, anger, etc. Dejar que el estado emocional domine la escena:  Substitución del estado anímico de la escena, recurren a experiencias previas relacionadas con la circunstancia  el género  audiencia de la obra. No tiene que crecer, no es una gráfica. In shock you feel nothing Out of nowhere can come a surge of emotion. Don’t Keep standing full of energy Confused is not lost What do you do while standing waiting, how do you make yourself confortable in relation to:  What you are wearing  Who do you see  You think about what are you going to do  Count the cracks in the floor, etc. Funny lines, ¾ of our time trying to make laugh. No hay que rehuir al humor. Research the objects and space in the scene. 2nd example, BAREFOOT IN THE PARK No real physical life Between places Start Connecting with a physical activity 3 steps to start the scene. 1. What did I just do 2. What am I doing now 3. What do I want and go for it. Amanda Peet Don’t Pace Observar nuestro propio comportamiento

Exercise 1 PHYSICAL DESTINATION El destino provee de seguridad y tensión física. Es importante saber:  a donde se dirige uno  donde esta uno  como los elementos externos afectan el propio comportamiento. Como actor se relaja y puede llevar a cabo su trabajo psicológico. HOW TO INCORPORATE AUDIENCE AS ANOTHER PART OF REALITY Exercise 2 Fourth side wall Intimidad, a pesar de su audiencia debe localizar los puntos a los cuales mirar desde antes en la escena. Saber dónde poner la vista TELEPHONE EXERCISE, you are 3 different people depending who you are talking to. Exercise 3 CHANGES OF SELF SEARCH FOR TICKETS When We expect something, we start to care. Debe ser gradual. Inner Object is something we contact visually with our eye’s mind that is not present in the room. Button your coat while not thinking about it, thinking about future tasks. Es necesario familiarizarse con las actividades antes de aprender el dialogo. BAREFOOT IN THE PARK - REWORK Las actividades no deben de ser más importantes que la actuación. No deben interferir con el objetivo. Debe ser realizado de una manera orgánica. Se deben practicar las acciones primero, antes de aprender los diálogos. TRANSFERENCIA: Substitution. The sense of age has to do with who am i with. Transfiero una relación hacia otro actor para actuar de cierta manera. No es que le ponga la cara de mi otra relación al actor, sino que me anclo en esa relación para interactuar con el otro actor. Así mi comportamiento es hacia el otro actor, no hacía “La otra cara que estoy poniendo en él”. How you feel and translating it into behavior THE TAMING OF THE SHREW Physical confrontation on stage has to be worked as ballet so that it can be spontaneous. The public will wonder about the actor hurting the other actor. Se debe poner elementos que estén bajo control en la escena para luego dotarlos de la “realidad imaginaria” que se quiere mostrar. ENDOWING something with reality thru physical actions. BOILING COFFEE example.

VERBAL ACTION: The words are already duels. Si se quiere lograr algo con el texto, se debe hacer solo con las palabras y no recurrir a acciones porque si no ya no serán necesarias las palabras. Don’t race, let stuff land. Make meaningful pauses. Se debe esperar recibir las acciones y luego reaccionar. Es necesario ser cuidadosos con el tempo.

5th exercise: RECREATING PHYSICAL SENSATION. Se utilizan objetos inofensivos y se les dota de las características deseadas. Endowed reality.  Part1 Endowment: BURN, opening stuck bottle, cutting yourself with a knife.  Part2 Endow physical sensation thru the circumstances: weather, heat, cold, having to be quiet, being in a hurry, HAVING TO GO TO PEE WHILE DRUNK.  Drunkenness can be faked by equilibrium and the head – give in and then try to control, concentration problems, fighting against it, continuously trying to keep control.  While you sit your head is what wants to go.  You can stack endowments. Q&A Go along until it fails. React to the problem in a logical way. Notes on Substitutions and Transferences while preparing. Nothing is too much if it’s realistic. When is too much is when is pushy, muggy, illustrating or indicating. Motivate actors for movement, so they can ask their selves so they can know why they go over there. El actor puede preguntar justificadamente por qué voy a ir a ese lugar. A true intention is like a course line. Ejemplo del extra que nunca había actuado en la Opera. Disk02 BILOXI BLUES Primero se ensayan las acciones, la vida física, se piensa lo que se va a hacer en 10 minutos... Cuando se escucha, se escucha, cuando se ve, se ve. The prop is got to help the actor. TRANSFERENCIA: Imaginar el lugar en function al cuerpo Ejercicio 6 OUTDOORS Sensing in a logical linear way Capting the moment Sends direct reflexes Exercise 7 WAITING What do we do while waiting Putting yourself in time and place and being occupied Clothes define some behavior Clothes have to be endowed into the acting Inner object, makes you to be still

UNCLE VANYA Talking to your self is involuntary, it has to do with an activity. I don’t talk to myself when I’m physically still. Vanity: In a crush you are very self-aware. Sensorial life. Smell, feel, la naturaleza del personaje. Connecting to an objective: Passion, meaningful, opportunity to share Ejemplo 8 TALKING TO YOURSELF The reason we talk to ourselves is to gain control over the circumstances.  Boredom  Crisis  Anger Element of discovering. Don’t Demanded when saw, instantaneous discovery. Move in, stare in disbelief Expectation of the way it is supposed to look. GROWN UPS Transiciones To make the play tolerable and find variations you should work drama as comedy. A fight can be hilarious. The fun in fighting is enjoying one’s superiority and argument. When it fails, when it works, the crying, can it be an undoner? What can you use as a weapon, to best it. The drinking showing off COMEDY Good comedy has a good script. The audience doesn’t want to see that you think you are funny. GROWN UPS REWORK Cross out the stage directions, adjectives. What to discuss with a scene partner Objectives, make sure they are in conflict. Do not discuss the actions. Relationship, how to deal naturally, maintain surprise. Get up and do it. OBJECTS CIRCUMSTANCES RELATIONSHIP PLACE La sobreactuación hace que los errores sean mucho más notorios. TALKING TO YOURSELF Created imaginary people Do not make eye contact with the audience

TALKING TO THE AUDIENCE Too many activities Establish the imaginary person beforehand. UNCLE VANYA REWORK (The exploding girl) Make our own theaters Transference of deep feelings to other objects and circumstances as substitutions. Trigger the experience. Transferences have a consequence into the action, they got to be transferred; that’s what anchors it to you. What does it makes you do, to somebody or something on stage. Not to be impatient and not to score it like a story line. Do the homework so it comes natural. Work in a progressive way, leave effect behind. Actions start dialogues. OBJECTS MODIFY ACTING UNDERWEAR Corsets make you straight, cant cross your legs, the ruffles would need car when serving tea as not to leave firgerprints on the silver, etc. BEHAVIOUR Fashion and social morals are what change in human behavior. Love, anger, possessive, neurotic. EXERCISE 10 HISTORICAL Charlotta, The Cherry Orchard Take the character out of the crisis, and give them a single task. We start to discover all the sources that make it different that it is now, and to achieve that I can put my character in a time and place so that I believe I lived there then. Choose objects and know the space. Love the character. Inner objects, while dressing, butting buttons. Washing your face, not somebody else’s. Stagger conditions. THE TAMING OF THE SHREW REWORK Understand and make sense of the scene. The expectations – consequences Practice the language