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Transcript

begin

Mariza-Jane Pacho

Perform in Parts: Portfolio

Fin.

Weekly Targets

Duologue

Performances

Logs/Rehearsal

Spoken Word

Evaluations

Dance

Konstantin Stanislavski

Index

At the heart of Stanislavski’s philosophy was the belief that actors should strive for authenticity. He emphasized the importance of emotional truth and psychological depth, encouraging performers to connect with their characters on a personal level. His innovative techniques included the use of “emotional memory,” where actors would recall their own experiences to evoke genuine emotions during performances. This method aimed to create a more believable and relatable portrayal of characters, contrasting sharply with the melodramatic styles that dominated the stage at the time.

Known as the "Pioneer of Modern Acting", Konstantin Stanislavski was a seminal figure in the world of theater, known for his profound influence on acting techniques and the development of modern performance. Born in Moscow 1863, to a well-to-do family, he was initially drawn to the arts through a passion for acting, which he pursued despite societal expectations. Stanislavski's journey led him to co-found the Moscow Art Theatre in 1898, where he revolutionized the approach to acting and production.

Konstantin Stanislavski

Stanislavski's approach was also characterized by a meticulous process of character development. He advocated for thorough preparation, where actors would analyze their roles, understand their motivations, and engage in extensive rehearsals. This commitment to detail not only enhanced individual performances but also elevated the overall quality of theatrical productions.

The impact of Stanislavski’s work extended beyond Russia, influencing countless actors and directors around the world. His teachings laid the groundwork for various acting methodologies, including the “Method Acting” of the American theater, which further explores the psychological aspects of performance. His books, particularly "An Actor Prepares," "Building a Character," and "Creating a Role," remain essential reading for aspiring actors and theater practitioners.In addition to his contributions to acting, Stanislavski was also a pioneering director. He believed in the collaboration of all elements of theater, from acting to set design, to create a cohesive artistic vision. His directorial techniques emphasized ensemble work, allowing actors to support and enhance each other's performances, fostering a sense of unity on stage.

In summary, Konstantin Stanislavski was a revolutionary figure whose ideas transformed the landscape of acting. His emphasis on emotional authenticity, character analysis, and collaborative artistry has left an indelible mark on the theater. As both an actor and a director, his legacy continues to shape the practices of contemporary theater, reminding us of the power of genuine human connection in performance.

Logs/Rehearsals

Spoken Word

Dance

Duologues

For our spoken word performance, we had to prepare a poem written by ourselves linked to the theme of “multiculturalism.” To work towards this final product, each voice lesson explored the different vocal techniques we can use to enhance our vocal delivery when performing our poems. The poem I had chosen to present was called “Give Me One Good Reason.” This poem speaks about one’s identity and how sitting with the self can be a quite daunting experience. I chose to write about this in my poem because it is a very personal topic to me as I have struggled with my own mental health in my own life and many can relate to this lonely inner world we can live inside our own heads. With each lesson we learnt the different components of the mouth that help annunciate our words and enhance our projection. We incorporated this alongside different aspects like tempo, sound, emotion and so forth to create our final performance for our spoken word exam.

Spoken Word

I’m fine is what I sayWhen I can’t get people to understand my day,How bad my day is goingBut them knowing would only welcome a pity-party of‘I’m sorry’ balloons and ‘hope you get better soons’I don’t want your pity, I’m sorry that I am being pickyBut I don’t need your care, or your affection,You weren’t there when I was being affectedBy my own stupid thoughts, that was the causeOf me staying in my head all day.Please, make this go away.I hate it.I hate you, and I hate everything that you do,I hate the way you imprison me in your fantasy,It is like I am entitled toGive you my identity and everythingThat makes me who I am,I wish you would dissolve in the sunlight,I wish my sea could hide your sandOf impertinence that you bring forth,like a storm that is just unsureOf who they are except they are havocAnd that is the reason why they so manageTo wreck my little universe apart -The world I tried to rebuild -And if you are not convinced yet, other self, I think more reasons will

You like to laugh as if every single sentence out of someone’s mouth is the punchline, You like to speak as if you were bringing a megaphone to a funeral,You like to shout and destroy the peace that comes with the silence, because the quiet makes you all too afraid of this world.Give me one good reason to still care about you Because caring is effort;Have you found another method for me to trySo it doesn’t feel like the life is being drained out of my eyesEvery single time you come back to haunt me in my own reflections.Every chance you have me alone,By myself, alone;In my own thoughts, alone;When I feel like I am breaking and you know that I am alone,You come in and snatch my authority right out of my hands as if it were grapesFrom a vineyard and then you went ahead and stomped on my self-esteemYou left that vineyard clean, as you washed away the traces of my happiness and dreamsAnd everything that came with being a little better than fine.

Give me one good reason.Give me one good reason to still care about you.Give me one really good reason to still hand you my diligence and my wit And my time, that was originally mine in the first placeBut instead I went back a few spaces So you wouldn’t have to be left behind in unfamiliar places,Being acknowledged by stranger-looking faces And a handful of excuses as to why you hate walking with nothing but yourself,The pastAnd the guilt it comes with being you.Give me one good reason to still care about youBecause all you ever seem to do is talk before you speak,Clearly that’s true since that doesn’t even make any sense at all;

The Poem used for the performance:

Give me one good reason to still care about youBecause after all, you are still my shadow;Your existence relies on me giving my time To make sure people know that you are here.You have always been hereI just needed a trigger to let you loose.You are still the person staring back at me in the mirrorYou are still the person I talk to when everyone else doesn’t know what it is like.To be up all night, just you and I Still processing years and years of our guilty consciences. Depression, I don't know what else to do.I don't know how to get rid of you Or to make you stopHow to make your voice disappearOr at least fade in the background.I wish you didn't make a single sound,I wish you didn't make me feel so small But most of all, I wish you knew That you are the reason for my downfall.

Give me one good reason to still care about youBecause you love to stay addicted,Persistent on my submission To your “god-like” premonitions; You like to get high on my energyThen as soon as you finish you give up,Throw me to the wastePretending no traceWas significant to call this an "us."Give me one good reason to still care about youBecause you adore inflicting this pain-On meSuch a shame you like playing these gamesMy body disagrees to this sane ideaYou have in your stubborn headBred and born from a foreign bedYou hate so much,You hate the loveI try so hard to take away from you.

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originally, the final poem wasn't my first choice - but the reason I went for the poem presented here is because it was a lot more vocally expressive. There were more emotions I could explore with my voice whilst the other poem felt more restrictive.

Dance

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Duologues

Play: TartuffeWritten by: MoliereScene synopsis: Dorinne and Marianne discuss what to do now that Marianne's father, Orion, has suggested marrying Tartuffe is the only choice.Character that I played: DorinneMy interpretation/thoughts on the character: Dorinne has always been by the family's side a

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Weekly Targets

12,5 M

3,5 K

-20%

+70%

Performances

Overall, our duet performance went well! We presented our choreography at a well-timed pace to the music - we continued to the last count and was able to effectively show our piece with profession and dedication. On the final pose we did mistakenly perform the wrong positionng; our initial position consisted of us posing back to back with high posture crossing our arms, this didn't go to plan because I hadn't turned my back towards my partner but instead was facing him. We solved this immediately mid-performance even though we did end up speaking rather than fixing our mistake. Things we could improve on would be adding more choreography to make our piece longer - having more interesting moves and exploring the level options more fervently; with our final rehearsal before our performance - we could've perfected certain poses and made them more dynamic to enhance our piece and algn to the upbeat music that we were dancing to. I would rate our performance 7/10 as I can see many areas of improvement.

Dance

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Duologues

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Spoken Word

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