{"id":5020,"date":"2017-05-12T15:42:18","date_gmt":"2017-05-12T15:42:18","guid":{"rendered":"https:\/\/tedb-old.byu.edu\/?page_id=5020"},"modified":"2017-05-12T15:42:18","modified_gmt":"2017-05-12T15:42:18","slug":"intro-relaxation-concentration","status":"publish","type":"page","link":"https:\/\/tedb-old.byu.edu\/?page_id=5020","title":{"rendered":"Intro: Relaxation & Concentration"},"content":{"rendered":"

Lesson 1: <\/strong><\/p>\n

Intro: Relaxation & Concentration<\/strong><\/p>\n

 <\/p>\n

Objective:<\/strong><\/p>\n

Students will demonstrate their ability to play by exploring activities in relaxation and concentration.\u00a0 Students will be introduced to Stanislavsky and his background for exploring acting.<\/p>\n

 <\/p>\n

Materials Needed:<\/strong><\/p>\n

Intro Powerpoint \u00a01.Intro and Quotes<\/a><\/p>\n

Copies of Actor\u2019s Homework Handout\u00a01.Context Homework Handout<\/a><\/p>\n

 <\/p>\n

HOOK:<\/p>\n

As students enter the room, have music softly playing and show the first slide on the PowerPoint (Pp) projected on the wall so that students can follow the instructions without any verbal direction.<\/p>\n

 <\/p>\n

After all the students are in place, guide them through the following relaxation exercises:<\/p>\n

 <\/p>\n

RELAXATION ELEMENT<\/u><\/p>\n

Relaxation on the floor: SA<\/em> p. 174<\/strong><\/p>\n

Consciously tense and relax each set of muscles: feet, calves, knees, thighs, buttocks, whole leg (release with \u201cAhhh\u201d), stomach, chest, torso (release with \u201cAhhh\u201d), upper arms, lower arms, fists, whole arm (release with \u201cAhhh\u201d), neck, face, whole scalp (release with \u201cAhhh\u201d)<\/p>\n

\u00a0<\/strong><\/p>\n

X Stretch first on floor then standing: SA<\/em> 109<\/strong><\/p>\n

Create an \u2018x\u2019 with your body stretching out and then contract into a ball (3 times)<\/p>\n

\u00a0<\/strong><\/p>\n

Stand High Stretch: SA<\/em> p.174<\/strong><\/p>\n

Reach for the sky as high as you can and then release from hands down<\/p>\n

 <\/p>\n

 <\/p>\n

DISCUSSION<\/p>\n

Students can relax and sit on the floor in a circle: Why would we do relaxation exercises in an acting class? What does relaxing your body do to your acting? (have someone scribe answers on board: answers could include freeing up our body by releasing tension, keeping us in tune with our bodies to better use them; relaxation allows us to focus our minds on our character, etc.)<\/p>\n

 <\/p>\n

Pp Slide:<\/em> Relaxation for the actor is when unnecessary tensions have been removed and the remaining energy is purposefully focused and the awareness is acute \u2013 a state in which you are most ready to react.\u00a0 It is restful alertness.<\/p>\n

 <\/p>\n

Pp Slide:<\/em> \u201cThe most insignificant tension anywhere can paralyze the whole creative process.\u201d<\/p>\n

\u201cMake muscle control part of your physical being.\u201d<\/p>\n

 <\/p>\n

 <\/p>\n

INSTRUCTION<\/p>\n

Have students grab their actor\u2019s journal for taking notes:<\/p>\n

Pp Slide<\/em>: Introduce Stanislavsky and his desire to learn a craft (not just play a role)<\/p>\n

*This an incredibly condensed peek into his system; highlighting key points rather than going extensively into him and his work; just enough to pique the students\u2019 interest.\u00a0 We will be focusing in on a few of his system\u2019s foundational elements: Relaxation, Imagination\/Concentration, Given Circumstances, Justifying Actions, Paraphrasing\/Subtext*<\/p>\n

 <\/p>\n

Stanislavsky saw his system as offering advice to actors of different temperaments who wished to speak through different aesthetic styles. Not everyone learns and executes acting the same way.\u00a0 So he wanted to create a system that anyone could draw on and use what worked for them to get to the character they wanted.\u00a0 Practical analysis (work on self) and analysis (work on role).\u00a0 \u201cOne must give actors various paths.\u201d<\/p>\n

\u00a0<\/em><\/p>\n

Pp Slide:<\/em> Work on three different skills as you develop your acting technique:<\/p>\n

    \n
  1. Physical \u2013 voice and body as expressive instruments<\/li>\n
  2. Conceptual \u2013 analyze the script and recognize how your character fits in it<\/li>\n
  3. Spiritual \u2013 be relaxed, centered, observe, focus, be aware and become the character<\/li>\n<\/ol>\n

     <\/p>\n

    Let\u2019s go back to relaxation \u2013 concentration:<\/p>\n

    Pp Slide:<\/em> \u201cI saw that freedom of the body, relaxation of muscles and complete subordination of the entire physical apparatus to the actor\u2019s will played an important role in promoting the creative mood.\u00a0 Such discipline permits splendidly organized creative work which enables the actor to express freely with his body what his soul is feeling.\u201d<\/p>\n

    How does this quote connect with the list generated on the board from the earlier discussion?\u00a0<\/p>\n

     <\/p>\n

     <\/p>\n

    GROUP PRACTICE<\/p>\n

    Have students follow the following directions in making poses.\u00a0 Tell them not to \u201ccheck\u201d themselves or try to observe themselves \u2013 instead they should focus solely on the TASK and not worry about how they look or if the pose is \u2018correct\u2019.<\/p>\n

    Adopt Poses: KS<\/em> Exercise 4.1<\/strong><\/p>\n

    Work through a series of poses: sit up straight, half sit, standing, leaning over, kneeling, crouching) and make a mental note of which muscles are involved in the task (how few are actually needed!).\u00a0 After each pose relax whatever muscles aren\u2019t necessary.\u00a0 \u201cHow many muscles do you use in acting that you actually don\u2019t need to engage?\u201d<\/p>\n

     <\/p>\n

     <\/p>\n

    CONCENTRATION ELEMENT<\/u><\/p>\n

    Pp Slide:<\/em> \u201cThe greatest obstacle in the artistic development of an actor is haste.\u201d<\/p>\n

    Circle: Breath then Movement: SA<\/em> p.109 & 122<\/strong><\/p>\n

    Hold hands and concentrate on other\u2019s eyes and breath.\u00a0 Release hands.\u00a0 Move only when others move in any way.\u00a0 Now turn outward and do the same without looking around you.\u00a0 Pay attention to the breath and connection and just know when people are moving.<\/p>\n

    Song Focus: SA<\/em> p.175<\/strong><\/p>\n

    Half the group singings \u201cHappy Birthday\u201d out loud while the other half hums their own song silently to self.\u00a0 Switch the task for the halves.<\/p>\n

     <\/p>\n

     <\/p>\n

    APPLICATION<\/p>\n

    Pp Slide:<\/em> Creative state is when you are relaxed, playful, and non-judgmental \u2013 be playful, whole, and open.<\/p>\n

     <\/p>\n

    Read your piece out loud. Concentrate on your own piece even with others around you.\u00a0 Don\u2019t act the piece.\u00a0 Just read it.\u00a0 Take any notes directly on the script if anything strikes you.<\/p>\n

     <\/p>\n

     <\/p>\n

     <\/p>\n

    CLOSURE:<\/p>\n

    Pass out and go through the actor\u2019s homework that students need to complete.\u00a0 This homework is basically taking notes of some focused things so that students have complete contextual understanding of the play, their piece, and character.<\/p>\n

     <\/p>\n

    ASSIGNMENT:<\/strong><\/p>\n

    Read detailed synopsis of the play and take notes of the storyline: (pass out handout)<\/em><\/p>\n

    What is going on in the play?<\/strong>\u00a0 Create a list of events of the play \u2013 hit the most important events that move the story along, but detail the events in the scenes just before, during and after your piece.\u00a0 What exactly is happening with whom and when (and maybe even why if the text gives you that)?<\/p>\n

    What is your relationship with other people in the play?<\/strong> List the key people in the play and note how you interact with them (if you interact with them).<\/p>\n

    What is the setting for your scene\/mono?<\/strong>\u00a0 Where does it take place and what time of year?\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>\n

     <\/p>\n","protected":false},"excerpt":{"rendered":"

    Lesson 1: Intro: Relaxation & Concentration   Objective: Students will demonstrate their ability to play by exploring activities in relaxation and concentration.\u00a0 Students will be introduced to Stanislavsky and his background for exploring acting.   Materials Needed: Intro Powerpoint \u00a01.Intro and Quotes Copies of Actor\u2019s Homework Handout\u00a01.Context Homework Handout   HOOK: As students enter the …<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[],"tags":[],"_links":{"self":[{"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=\/wp\/v2\/pages\/5020"}],"collection":[{"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5020"}],"version-history":[{"count":1,"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=\/wp\/v2\/pages\/5020\/revisions"}],"predecessor-version":[{"id":5027,"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=\/wp\/v2\/pages\/5020\/revisions\/5027"}],"wp:attachment":[{"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5020"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5020"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5020"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}