Actors | MAQAMAT International Academy Of Arts And Heritage

ACTING STUDIO

FOR MOVIES

ACTING

TO BE OR TO PLAY? THAT IS THE QUESTION!

When we work together, you as an actor and me as a coach or a trainer, you first discover the process of assembling the essential elements you will need to progressively build your character, and lately how to use your inner self to be this specific character. My main aim as a coach or a trainer is to push you to the limits of what you think or believe you can do. Every time you will have your scene to act, in front of the other members of the group, I will walk you through sincerity, helping you to interpret and portray your characters without failing them or the audience. Remember the eye of the camera is totally objective, no matter the expected outcome, be it on television or on film.

My duty as a coach or a trainer is to shade light on what is hidden behind the word “Acting” using Stanislavsky’s method or system. The course is divided into two steps:

theoretical approach which encapsulates the synthesis of the first part of Stanislavski’s work and its development in the USA followed by the final part of his research with María Knebel: (The Method of Analysis by Psycho-Physical Actions),
Application approach of the theory in different sessions of film shooting, with two angles, frame by frame based on the editing plan.

The workshop

In the “Actors acting” Workshop, we work on several techniques inherited from Stanislavski’s system, (Actor’s Studio and the Gitis School in Moscow), applied to the work of the actor’s preparation for the stage. The theoretical and practical path proposes to revisit the method of analysis by the physical actions and the works of emotional and sensory memory, applied both to character construction and to working in front of the camera. We will also spend time working on the body, the voice, and the diction using various improvisation techniques.

Please note that all actors trainees are supposed to have studied Stanislavski’s work (An Actor Prepares), cause its use in cinema is linked to the need to find as quickly as possible the truth in the actor’s “BE” which leaves in many cases a very short time to the actor, due to the nature of the dynamics of a shooting on stage. This is why I strongly insist on the thorough study of Stanislavski’s book, in order to be able to follow and understand the course and to be able to use its technics quickly in any shooting circumstance.

MEET

THE TRAINER

ABDALLAH ROUHLI

REVIEW:

So much mystery and veneration surround the writings of the great Russian teacher and director Stanislavski that perhaps the greatest surprise awaiting a first-time reader of An Actor Prepares is how conversational, commonsensical, and even at times funny this legendary book is. After many productions with the Moscow Arts Company, Stanislavski sought a way to introduce his new style of acting to the world outside of his rehearsal hall. The resulting book is a “mock diary” of an actor describing a series of exercises and rehearsals in which he participates. He details his own emotional and intellectual reactions to each effort, and how his superficial tricks and mannerisms begin to disappear as he increasingly gives over his conscious ego to faith in the creative power of his subconscious. Rarely has any writer on the theater achieved the sort of lucid and inspired analysis of the acting process as Stanislavski does here, and his introduction of such now-standard concepts as “the unbroken line,” “the magic if,” and the idea of emotional memory has laid the groundwork for much of the great acting of the 20th century. While much excess and nonsense were to follow in the steps of Stanislavski’s writings, his original texts remain invaluable, and surprisingly accessible, to any actor or student of drama. –John Longenbaugh

REVIEW

Comédienne, Maria Knebel devient metteur en scène en 1935, à une époque où cette fonction était rarement dévolue à une femme. Stanislavski fait appel à elle en 1936 pour enseigner à ses côtés et l’assister. Il mettait alors au point les méthodes des “actions physiques” et de l'”analyse-action”, développait le travail par études et improvisations. Dès 1954, Maria Knebelcommence à exposer et synthétiser, dans Le Verbe dans l’art de l’acteur, des pans entiers du travail de Stanislavski, dont ses dernières avancées méthodologiques. Cet ouvrage, bientôt suivi de L’Analyse par l’action de la pièce et du rôle, devient vite le manuel de référence de plusieurs générations de praticiens de théâtre risses pour comprendre le système stanislavskien. Prenant appui sur de nombreux souvenirs de cours ou de conversations avec le cofondateur du Théâtre d’Art, elle passe aisément de ces anecdotes à une mise en perspective théorique du jeu de l’acteur où se mêlent travail psychique et travail physiquedans une constante recherche créative. Ce double livre, adapté par Anatoli Vassiliev etlargement annoté, comporte une présentation biographique de Maria Knebel et permet de revenir aux sources de l’enseignement de Stanislavski, cette fois directement traduit du russe.

ABSTRACT

Active Analysis combines two of Maria Knebel’s most important books, On Active Analysis of the Play and the Role and The Word in the Actor’s Creative Work, in a single edition conceived and edited by one of Knebel’s most famous students, the renowned theatre and film director, Anatoli Vassiliev. This is the first English translation of an important and authoritative fragment of the great Stanislavski jigsaw. A landmark publication. This book is an indispensable resource for professional directors, student directors, actors, and researchers interested in Stanislavski, directing, rehearsal methods, and theatre studies more generally.

FOR MOVIES

ACTING

TO BE OR TO PLAY? THAT IS THE QUESTION!

MEET

THE TRAINER

ABDALLAH ROUHLI

REVIEW:

REVIEW

ABSTRACT

MIAAH