Regie: Antonis ChryssoulakisText: Miltiadis Oulios
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Stylized Narrative Theater
Narration is the basis and the goal of every theatrical action, because in the end the purpose of every play is to tell a story to the audience. The playwright is the sole, undisputed and exclusive owner of his story. The only power a director holds, other than choose or reject the play, is to read between the words of the script in order to unveil the meaning of the words and expose the underlying narrative thread.
Acting a role through the Method of Narration, results in a natural, sincere, unexaggerated performance and allows virtually anyone regardless of age or physical appearance to give a skillful performance.
Did your grandmother use to tell you fairy tales? Υou remember how easy she found it to switch roles, from the Big Bad Wolf to the Red Riding Hood, without having attended any Drama school.
- It’s easy! Does it mean that there are no rules?
- Narrative? Sounds a bit static to me…
- What about Constantin Stanislavski?
- Reading between the words???
On the contrary! Even the most entertaining of games have rules. Simple rules that anyone can follow, as long as they can escape the old notion that acting is only about “Feeling”. David Mamet claimed in his books that an actor trying to act through feeling, is like a pilot trying to make an airplane take off, by clapping his hands and shoulders like he is a bird*.
Maybe… but not exactly! If you only move to declare something and every single movement you make has purpose and therefore significance, then yes. Laurence Olivier was playing, using rules of dance and movement from the Bauhaus technique, when he was taking you through the plot both with words and with movement.
What about Konstantin Stanislavski?
Well… he was born in 1863 and died in 1938. He is considered one of the greats off the Theatrical Art, like Hippocrates for medicine. But if you are wounded you would look for somebody other than a doctor who could only treat you with herbs. In Theater these are Mamet, Brook, Oida and many more.
This is the most tricky part of acting… but it is mostly the responsibility of the director. The actor needs to keep it simple. The rules are to forget everything you know, approach the text with the innocence of a 2-year old child or a madman. Try to understand, forgetting what society believes and try to explain by letting the words flow. The musicality of the speech creates the role.
*Having read the books in Greek and not in English, I may paraphrasing the quotation.
Antonis Chryssoulakis*Erkratherstr. 62*40233, Deutschland*0049 (0) 176 4210 7669