Cath Rankin's List: IB Theatre

Brief Actors' Gang highlights created for the Prize of Hope Award

This video is more or less included in my videos: History of Theater 1 to 4.Development of Western theatre, Greek and Roman theatre.

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I haven't ever done Kabuki-style makeup before... thought it would be kind of fun! (and it was haha)... even if it didn't turn out *quite* as well as I had h...

This is part 2 of my visit to Auschwitz.Birkenau is a separate camp and the place where the processing and gassing took place on an industrial level. It fol...

Auschwitz - Gratitude for fresh shipment - Ammunition factory These video excerpts are for promotional use only. After previewing this film please purchase ...

Liquidation of Ghetto continued - Girl in red dress - Arrival at Labor Camp - Shooting from balcony These video excerpts are for promotional use only. After...

http://brero.es/blogEnsayo de la Fura dels Baus en el solar donde irá el Nuevo Auditorio de la Cartuja.Lo bueno viene a partir del minuto 4:14 hasta el 5:21.

The theatre in Ancient Greece.

Actors' Gang workshop production of "I'm not a racist, but..."

Highlights from a production of Lorca's "Blood Wedding", which I directed in 2003 at CalArts Ensemble Theatre. The first two acts occurred atop a ...

mix blue man group with sergioadrian´s critheria

Stanislavski's system is an approach to acting developed by Constantin Stanislavski, a Russian actor, director, and theatre administrator at the Moscow Art Theatre (founded 1897). The system is the result of Stanislavski's many years of efforts to determine how a human being can control in performance the most intangible and uncontrollable aspects of human behavior, such as emotions and artistic inspiration.\nContents\n\n * 1 Description\n * 2 Approaching acting\n * 3 The system versus the Method\n * 4 Progression of the system\n * 5 The Method of Physical Action\n * 6 Notes\n * 7 Bibliography\n\n[edit] Description\n\nThe system is based around an actor "living the part" but always staying one step away from complete belief. He felt that it is important that, whilst the actor should experience and show the emotions of the character, it is very important the actor still stay detached. The system was made as a flexible structure, a thing that actors may use as much or as little as they please in their rehearsals, and was intended to be modified for the individual.\n\nTechniques involve a "Round the table analysis" - a process in which the actor/s and director literally sit around a table and put forward their thoughts on the script and the characters until a clear understanding is formed. His "homework" involved breaking the script into sections of different "objectives." This would be different for each actor involved. The structure of the entire script would be roughly as follows:\n\nObjective - The final goal a character wants to achieve. (Often worded as "What do I want?" Note: Does not have to be achieved and can be as simple as you wish. E.g To pour a mug of tea.\n\nObstacle - Aspects that will stop or hinder that character achieving his or her objective. E.g There are no teabags in the tin.\n\nTools/Method (has many different names) - The different techniques that a character is going to use to achieve his objective. E.g Search around the kitchen, walk to the shops, call on the neighbour

Laban Movement Analysis (View on Wikipedia)\nFrom Wikipedia, the free encyclopedia\nJump to: navigation, search\n\nLaban Movement Analysis (LMA) is a system and language for understanding, observing, describing and notating all forms of movement. Devised by Rudolf Laban, LMA draws on his theories of effort and shape to describe, interpret and document human movement. Used as a tool by dancers, athletes, physical and occupational therapists, it is one of the most widely used systems of human movement analysis.\n\nExtended by the work of Irmgard Bartenieff, the system is known also as Laban/Bartenieff Movement Analysis or Laban Movement Studies and comprises:\n\n * Laban Movement Analysis\n * Anatomy and Kinesiology\n * Bartenieff Fundamentals (sm)\n * Labanotation\n\nQualified practitioners are known as "Certified Movement Analysts" (CMAs) or "Certified Laban Movement Analysts" (CLMAs).\n\nOn a stylistic note, terms which have specific meaning in the system are typically capitalized. Thus there is a difference between "strong weight effort" and "Strong Weight Effort". The former is an English phrase with a variety of connotations. The latter is LMA specific vocabulary referring to one of the two configurations of Weight Effort, a qualitative category of movement expression.\nContents\n\n * 1 Laban Movement Analysis\n o 1.1 Body\n o 1.2 Effort\n o 1.3 Shape\n o 1.4 Space\n * 2 Anatomy and kinesiology\n * 3 Labanotation\n * 4 Bartenieff Fundamentals(sm)\n * 5 Centers\n * 6 See also\n * 7 References\n * 8 External links\n\n[edit] Laban Movement Analysis\n\nLMA (Laban Movement Analysis) is a development of Laban's theories. It includes studies in 4 inter-related categories: Body/ Effort/Shape/Space. LMA/BF is the integrated study of Laban and Irmgard Bartenieff's embodiment of his theories.\n\nLMA has four main categories: Body, Effort, Shape, and Space.\n\n[edit] Body\n\nThe body category describes structural and physical characteristics of the h

A small fragment from "Duck Soup" ..enjoy

Trestle presents a new touring production which tells the true story of the infamous 19th century Spanish dancer, Lola Montez.