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Mark Strivings V.I.P. 290 Posts |
I would especially like to hear from my European friends on this one (but chime in from wherever you may be...).
I have seen some European stage performers, some whom you would definitely know, who handle stage deportment in a noticably different manner than what I was taught in my formal stage training. For instance, I've seen performer's simply turn their back to the audience, for no motivated reason that I could discern, completely blocking the audiences view of the performer (except emphasizing his 'bad' side, if you know what I mean...). And not just for a moment or two, but for what felt like long time frames. Of course, on stage, even short time frames generally feel longer than they are, but this seems out of placce to me. I have seen performer's with a spectator on stage, stand at what is known as 3/4's (mostly facing away from the audience, or having their back turned on most of the house), throughout the entire routine. It was not for an obvious theatrical reason that I could figure out. I guess my question is, what is the state of formal theatrical training among all of you out there. Have you had it? If so, how much? How much do you apply to your own performances? I don't mean to sound like I'm slighting our European brothers. Far from it! I've seen it here in the States as well. But, from what I have observed, and it could be coincidental, it seems to be somewhat prevalent in some areas of Europe. Am I way off base here? Is there a cultural thing I don't know about? Does anybody care one way or another? Views? Comments? Indifference....? Mark
Mark Strivings is the owner of the largest all-mentalism mail order supply business in the world, "Mental Connections", carrying materials not available anywhere else. For complete info, drop Mark a line at MarkyApril@aol.com
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Thoughtreader Inner circle Calgary, Alberta, Canada 1565 Posts |
Quote:
On 2002-04-09 01:23, Mark Strivings wrote: My University background is BFA (Fine Arts degree: theatre major/psychology minor) and BEd (Education: Theatre specialist/counselling) I use all of it. Theatre background includes knowledge of lighting and sound which allows you to walk into a theatre and know what you are talking about with the techies. Directing and stage blocking although I prefer to have a non-mental/magic director actually come in to do this as it is extremely hard to be objective with your own work. Having an outside director works to ones advantage. Acting ability is a huge part of what I do (as do any successful mentalist and is quite often why others fail miserably when they try). Make-up technique is another over looked and often misused or not used technique that is sooooooooo important. My psych background is also very important background when I am doing "readings". There is of course other areas involved too but those are the first that come to mind with my formal training plus then there is my background in television and other theatre/movie work that while not mentalism or magic related still have a huge impact on what I do now. PSIncerely Yours, Paul Alberstat |
Alex Reeve New user 63 Posts |
Dear Mark,
here in France, theatre training is based more on intellectual level than physical training. In the States acting is based on actions ("what my character should do to achieve my goal"), in France Acting is based more on thinking ("what should my character think"). Acting in the States is more about the relationship between characters and in France Acting is more self centered. This means that actors think about their character but not of their position on stage. they think that if they think about that, that might interfere with their character. I think this method is bad particularly for a performer and that's why I did a BA in acting In New York. This training Helped me more than any training that I did previously in France. I use what I learned in the States every day in my shows. I hope it helps a bit for your question |
Mark Strivings V.I.P. 290 Posts |
Hi Alex,
Thanks for chiming in. Very interesting! I wasn't aware of that perspective over there. Is it a European thing in general that you know of? It might explain some of what I've seen on stage. Any others out there?? Mark
Mark Strivings is the owner of the largest all-mentalism mail order supply business in the world, "Mental Connections", carrying materials not available anywhere else. For complete info, drop Mark a line at MarkyApril@aol.com
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Dr Omni Regular user UK 199 Posts |
In the case of Britain, there seems to be a huge gap between "serious acting" like the theatre and "variety" like magic, stand-up comedy, juggling, etc. There seems to be a certain snobbery among "real" actors towards "variety performers". So one assumes that many magicians simply haven't have the inclination or opportunity to learn theatre technique.
This is a pity, as in the UK all entertainers who are members of Equity (the actors' and entertainers' union) have the opportunity to study at the Actors' Studio in London, a facility where some of the bigggest names in British acting teach movement, voice, comedy, etc to members of Equity at workshops which can be attended for very affordable prices. (I have a confession to make: I'm a member of Equity, but still haven't enrolled in any of those classes, despit intending to. Keep waiting to get A Round Tuit.) |
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