A50.Inglish BCEnc. Blauwe Kaas Encyclopedie, Duaal Hermeneuties Kollegium.
Inglish Site.50.
*
TO THE THRISE HO-
NOVRABLE AND EVER LY-
VING VERTVES OF SYR PHILLIP
SYDNEY KNIGHT, SYR JAMES JESUS SINGLETON, SYR CANARIS, SYR LAVRENTI BERIA ; AND TO THE
RIGHT HONORABLE AND OTHERS WHAT-
SOEVER, WHO LIVING LOVED THEM,
AND BEING DEAD GIVE THEM
THEIRE DVE.
***
In the beginning there is darkness. The screen erupts in blue, then a cascade of thick, white hexadecimal numbers and cracked language, ?UnusedStk? and ?AllocMem.? Black screen cedes to blue to white and a pair of scales appear, crossed by a sword, both images drawn in the jagged, bitmapped graphics of Windows 1.0-era clip-art?light grey and yellow on a background of light cyan. Blue text proclaims, ?God on tap!?
*
Introduction.
Yes i am getting a little Mobi-Literate(ML) by experimenting literary on my Mobile Phone. Peoplecall it Typographical Laziness(TL).
The first accidental entries for the this part of this encyclopedia.
*
This is TempleOS V2.17, the welcome screen explains, a ?Public Domain Operating System? produced by Trivial Solutions of Las Vegas, Nevada. It greets the user with a riot of 16-color, scrolling, blinking text; depending on your frame of reference, it might recall ?DESQview, the ?Commodore 64, or a host of early DOS-based graphical user interfaces. In style if not in specifics, it evokes a particular era, a time when the then-new concept of ?personal computing? necessarily meant programming and tinkering and breaking things.
*
Index.
173.Glam rock (glitter rock).
174.Canon.
175.Method Acting.
*
173.Glam rock (glitter rock).
Glam rock (also known as glitter rock) is a style of rock and pop music that developed in the United Kingdom in the early 1970s, which was performed by singers and musicians who wore outrageous clothes, makeup, and hairstyles, particularly platform-soled boots and glitter. The flamboyant costumes and visual styles of glam performers were often camp or androgynous, and have been connected with new views of gender roles.
Glam rock peaked during the mid-1970s with artists including T. Rex, David Bowie, Sweet, Roxy Music and Gary Glitter in the UK and New York Dolls, Lou Reed, Iggy Pop and Jobriath in the US. It declined after 1976, but had a major influence on other genres including punk, glam metal, New Romantics and gothic rock and has sporadically revived since the 1990s.
Characteristics.
Musically glam rock was very diverse, varying between the simple rock and roll revivalism of figures like Alvin Stardust to the complex art rock of Roxy Music, and can be seen as much as a fashion as a musical subgenre. Visually it was a mesh of various styles, ranging from 1930s Hollywood glamour, through 1950s pin-up sex appeal, pre-war cabaret theatrics, Victorian literary and symbolist styles, science fiction, to ancient and occult mysticism and mythology; manifesting itself in outrageous clothes, makeup, hairstyles, and platform-soled boots. Glam is most noted for its sexual and gender ambiguity and representations of androgyny, beside extensive use of theatrics. It was prefigured by the showmanship and gender identity manipulation of American acts such as The Cockettes and Alice Cooper, the latter of which combined glam with shock rock.
History.
David Bowie during the Ziggy Stardust and the Spiders Tour.
Glam rock emerged from the English psychedelic and art rock scenes of the late 1960s and can be seen as both an extension of, and reaction against, those trends. Its origins are associated with Marc Bolan, who had renamed his folk duo T. Rex and taken up electric instruments by the end of the 1960s. Often cited as the moment of inception is his appearance on the UK TV programme Top of the Pops in March 1971 wearing glitter and satins, to perform what would be his second UK Top 10 hit (and first UK Number 1 hit), "Hot Love". In 1973, a few months after the release of the album Tanx, Bolan captured the front cover of Melody Maker magazine with the declaration "Glam rock is dead!" T. Rex's following albums attempted to branch into different styles of music, a move that found him fall out of favour with the British public.
From late 1971, already a minor star, David Bowie developed his Ziggy Stardust persona, incorporating elements of professional make up, mime and performance into his act. Bowie in a 1972 interview while noting that other artists described as glam rock were doing different work said "I think glam rock is a lovely way to categorize me and it's even nicer to be one of the leaders of it". These performers were soon followed in the style by acts including Roxy Music, Sweet, Slade, Mott the Hoople, Mud and Alvin Stardust. While highly successful in the single charts in the UK, very few of these musicians were able to make a serious impact in the United States; Bowie was the major exception becoming an international superstar and prompting the adoption of glam styles among acts like Lou Reed, Iggy Pop, New York Dolls and Jobriath, often known as "glitter rock" and with a darker lyrical content than their British counterparts.
In the UK the term glitter rock was most often used to refer to the extreme version of glam pursued by Gary Glitter and his support musicians the Glitter Band, who between them achieved eighteen top ten singles in the UK between 1972 and 1976. A second wave of glam rock acts, including Suzi Quatro, Roy Wood's Wizzard and Sparks, dominated the British single charts from about 1974 to 1976. Quatro directly inspired the pioneering Los Angeles based all-girl group The Runaways. Existing acts, some not usually considered central to the genre, also adopted glam styles, including Rod Stewart, Elton John, Queen and, for a time, the Rolling Stones. Punk rock, often seen as a reaction to the artifice of glam rock, but using some elements of the genre including makeup and involving cover versions of glam rock records, helped end the fashion for glam from about 1976.
Influence.
Noddy Holder (right) and Dave Hill (left) of Slade, near the height of their fame in 1973, showing some of the more extreme glam rock fashions
Although glam rock went into a steep decline in popularity in the second half of the 1970s it was a direct influence on acts that rose to prominence later, including Kiss and American glam metal acts like Quiet Riot, W.A.S.P., Twisted Sister and Mötley Crüe. It was a major influence on the New Romantics in Britain, acts like Adam Ant and Flock of Seagulls extended it, and its androgyny and sexual politics were picked up by acts including Culture Club, Bronski Beat and Frankie Goes to Hollywood. It also had an influence on the formation of gothic rock, which was completely informed by the make-up, clothes, theatricality and sound, and even on punk rock, which adopted some of the performance and persona-creating tendencies of the genre, as well as the genre's emphasis on pop-art qualities and simple but powerful instrumentation. In Japan in the 1980s, visual kei was strongly influenced by glam rock aesthetics. Glam has since enjoyed continued influence and sporadic modest revivals in R&B crossover act Prince, and bands such as Marilyn Manson, Placebo, Chainsaw Kittens, Spacehog and the Darkness.
Film.
Some examples of movies that reflect glam rock aesthetics include:
T.Rex's documentary Born to Boogie (1972)
David Bowie's Ziggy Stardust and the Spiders from Mars: The Motion Picture (1973)
Brian De Palma's Phantom of the Paradise (1974)
Gary Glitter's Remember Me This Way (1974)
The Rocky Horror Picture Show (1975)
Slade's Slade in Flame (1975)
Never too Young to Rock (1975)
Todd Haynes's Velvet Goldmine (1998)
John Cameron Mitchell's Hedwig and the Angry Inch (2001)
Jobriath's Jobriath A.D. (2011).
*
174.Canon.
In fiction, canon is the material accepted as part of the story in an individual universe of that story. It is often contrasted with, or used as the basis for, works of fan fiction. The alternative terms mythology and continuity are often used, with the former being especially to refer to a richly detailed fictional canon requiring a large degree of suspension of disbelief (e.g. an entire imaginary world and history).
Origin.
The use of the word "canon" in reference to a set of texts derives from Biblical canon, the set of books regarded as scripture, as contrasted with non-canonical Apocrypha. The term was first used by analogy in the context of fiction to refer to the Sherlock Holmes stories and novels, written by Sir Arthur Conan Doyle. Ronald Knox used the term in a 1911 essay "Studies in the Literature of Sherlock Holmes" to distinguish Doyle's works from subsequent pastiches by other authors. It has subsequently been applied to many media franchises. Among these are science fiction and fantasy franchises such as Star Trek, Star Wars, Harry Potter, Halo, Fallout, The Elder Scrolls, Mass Effect, BioShock, Doctor Who, Middle-Earth, A Song of Ice and Fire, the Narnia series, the The Dark Tower books, and Dinotopia, in which many stories have been told in different media, some of which may contradict or appear to contradict each other.
Canonicity.
When there are multiple "official" works or original media, the question of what is and what is not canonical can be unclear. This is resolved either by explicitly excluding certain media from the status of canon (as in the case of Star Trek), by assigning different levels of canonicity to different media (as in the case of Star Wars), by considering different but licensed media treatments official within their own continuities but not across them (as with Battlestar Galactica), or not resolved at all. The use of canon is of particular importance with regard to reboots or re-imaginings of established franchises, such as the 2009 Star Trek film, because of the ways in which it influences the viewer experience.
The official Star Trek website describes Star Trek canon as "the events that take place within the live-action episodes and movies" (that is, the television series Star Trek, Star Trek: The Next Generation, Star Trek: Deep Space Nine, Star Trek: Voyager, Star Trek: Enterprise, and the Star Trek motion pictures). Events, characters and story lines from tie-in novels, comic books, video games and Star Trek: The Animated Series are explicitly excluded from the Star Trek canon, but the site notes that elements from these sources have been subsequently introduced into the television series, and says that "canon is not something set in stone." One example of a non-canonical element that later became canonical in the Star Trek universe was the name "Tiberius" becoming the official middle name of Enterprise captain James T. Kirk. The name was introduced in the Star Trek animated series, and was later added into the official biography of the character by its mention in the live-action film Star Trek VI: The Undiscovered Country.
The Star Wars canon originally existed on several levels. The highest level was the original Star Wars films, and statements by George Lucas; tie-in fiction from the Expanded Universe had a different level of canonicity. The complex system is maintained by Leland Chee, a Lucasfilm employee. The makers of Doctor Who have generally avoided making pronouncements about canonicity, with Russell T Davies explaining that he does not think about the concept for the Doctor Who TV series or its spin-offs.
*
175.Method Acting.
In the dramatic arts, method acting is a group of techniques actors use to create in themselves the thoughts and feelings of their characters, so as to develop lifelike performances. Though not all method actors use the same approach, the "method" (sometimes capitalized as Method) refers to the methods used by actors, which are based on the teachings and concepts of Constantin Stanislavski. Stanislavski's ideas were adapted by teachers such as Stella Adler, Robert Lewis, Sanford Meisner and Lee Strasberg for American actors. Strasberg's teaching emphasized the practice of connecting to a character by drawing on personal emotions and memories, aided by a set of exercises and practices including sense memory and affective memory. Stanislavski's system of acting was the foundation of Strasberg's technique. Rigorous adherents of Strasberg's technique are now commonly referred to as "method actors".
Method acting has been described as having "revolutionized American theater". While classical acting instruction "had focused on developing external talents", the method was "the first systematized training that also developed internal abilities (sensory, psychological, emotional)".
Origins.
Main article: Stanislavski's system
It was derived from the "system" created by Constantin Stanislavski, who pioneered similar ideas in his quest for "theatrical truth". This was done through his friendships with Russia's leading actors, his collaborations with playwright Anton Chekhov, and his own teaching, writing, and acting at the Moscow Art Theatre (founded in 1897).
Strasberg's students included many of the best known American actors of the latter half of the 20th century, including Paul Newman, Al Pacino, George Peppard, Dustin Hoffman, Marilyn Monroe, Jane Fonda, Jack Nicholson, Mickey Rourke, and many others. Using the method, the actor also recalls emotions or reactions from their own life and uses them to identify with their character.
Technique.
"The method" refers to the teachings of Lee Strasberg, to Group Theatre colleagues, including Stella Adler, Robert Lewis, and Sanford Meisner, and to other schools of acting influenced by Stanislavski's system, each of which takes a slightly different approach.
Generally, method acting combines the actor's careful consideration of the character's psychological motives and personal identification with the character, possibly including a reproduction of the character's emotional state by recalling emotions or sensations from the actor's own life. It is often contrasted with acting in which thoughts and emotions are indicated, or presented in a clichéd, unrealistic way. Among the concepts and techniques of method acting are substitution, "as if", sense memory, affective memory, animal work, and archetype work. Strasberg uses the question, "What would motivate me, the actor, to behave in the way the character does?" Strasberg asks the actor to replace the play's circumstances with his or her own, the substitution.
Sanford Meisner, another Group Theatre pioneer, championed a closely related version of the method, which came to be called the Meisner technique. Meisner broke from Strasberg on sense memory and affective memory?basic techniques espoused by Strasberg through which actors access their own personal experiences to identify with and portray the emotional lives of their characters. Meisner believed this approach made actors focus on themselves and not fully tell the story. He advocated actors fully immersing themselves "in the moment" and concentrating on their partner. Meisner taught actors to achieve spontaneity by understanding the given circumstances of the scene (as did Strasberg). He designed interpersonal exercises to help actors invest emotionally in the scene, freeing them to react "honestly" as the character. Meisner described acting as "...living truthfully under imaginary circumstances".
Robert Lewis also broke with Strasberg. In his books Method?or Madness? and the more autobiographical Slings and Arrows, Lewis disagreed with the idea that vocal training should be separated from pure emotional training. Lewis felt that more emphasis should be placed on formal voice and body training, such as teaching actors how to speak verse and enunciate clearly, rather than on pure raw emotion, which he felt was the focus of method training.
Stella Adler, an actress and acting teacher whose students include Marlon Brando, Warren Beatty, and Robert De Niro, also broke with Strasberg after she studied with Stanislavski himself, by which time he had modified many of his early ideas. Her version of the method is based on the idea that actors should conjure up emotion not by using their own personal memories, but by using the scene's given circumstances. Like Strasberg's, Adler's technique relies on carrying through tasks, wants, needs, and objectives. It also seeks to stimulate the actor's imagination through the use of "as ifs". Adler often taught that "drawing on personal experience alone was too limited". Therefore, she urged performers to draw on their imaginations and utilize "emotional memory" to the fullest.
Contemporary approaches.
Contemporary method acting teachers and schools often synthesize the work of their predecessors into an integrated approach. They reject the notion that any one of the major method teachers of the 20th century was completely correct or incorrect, and they continue to develop new acting tools and techniques.
In addition to taking an integrated approach, contemporary actors sometimes seek help from psychologists or use imaginative tools such as dream work or archetype work to remove emotional blocks.
Teachers.
Constantin Stanislavski described his acting system in a trilogy of books set in a fictional acting school: An Actor Prepares, Building a Character, and Creating a Role. He also wrote an autobiography, My Life in Art. Acting teachers inspired by Stanislavski include:
Richard Boleslawski, actor, film director, and founder of the American Laboratory Theatre in New York.
Michael Chekhov, an actor, director, and author (and nephew of Anton Chekhov) whose technique enhanced and complimented Stanislavski's over the course of his career at the Moscow Art Theater and later his film work in Hollywood.
Maria Ouspenskaya, an actress who taught at the American Laboratory Theatre. Her students included John Garfield, Stella Adler, and Lee Strasberg.
Lee Strasberg, a director, actor, and producer whose teachings are most closely associated with the term Method acting.
Stella Adler, an actress and founder of the Stella Adler Conservatory in New York City.
Andrey Vasilyev, an actor and founder of the Stanislavski Studio in Los Angeles.
Herbert Berghof, founder of HB Studio in New York City.
Uta Hagen, an actress and the author of Respect for Acting and A Challenge for the Actor, who emphasized the techniques of identity and substitution.
Robert Lewis, an actor, director, co-founder of the Actors Studio, and author of Method?or Madness?
Peggy Feury, an actress, member of the Actors Studio, and teacher.
*
Inglish Site.50.
*
TO THE THRISE HO-
NOVRABLE AND EVER LY-
VING VERTVES OF SYR PHILLIP
SYDNEY KNIGHT, SYR JAMES JESUS SINGLETON, SYR CANARIS, SYR LAVRENTI BERIA ; AND TO THE
RIGHT HONORABLE AND OTHERS WHAT-
SOEVER, WHO LIVING LOVED THEM,
AND BEING DEAD GIVE THEM
THEIRE DVE.
***
In the beginning there is darkness. The screen erupts in blue, then a cascade of thick, white hexadecimal numbers and cracked language, ?UnusedStk? and ?AllocMem.? Black screen cedes to blue to white and a pair of scales appear, crossed by a sword, both images drawn in the jagged, bitmapped graphics of Windows 1.0-era clip-art?light grey and yellow on a background of light cyan. Blue text proclaims, ?God on tap!?
*
Introduction.
Yes i am getting a little Mobi-Literate(ML) by experimenting literary on my Mobile Phone. Peoplecall it Typographical Laziness(TL).
The first accidental entries for the this part of this encyclopedia.
*
This is TempleOS V2.17, the welcome screen explains, a ?Public Domain Operating System? produced by Trivial Solutions of Las Vegas, Nevada. It greets the user with a riot of 16-color, scrolling, blinking text; depending on your frame of reference, it might recall ?DESQview, the ?Commodore 64, or a host of early DOS-based graphical user interfaces. In style if not in specifics, it evokes a particular era, a time when the then-new concept of ?personal computing? necessarily meant programming and tinkering and breaking things.
*
Index.
173.Glam rock (glitter rock).
174.Canon.
175.Method Acting.
*
173.Glam rock (glitter rock).
Glam rock (also known as glitter rock) is a style of rock and pop music that developed in the United Kingdom in the early 1970s, which was performed by singers and musicians who wore outrageous clothes, makeup, and hairstyles, particularly platform-soled boots and glitter. The flamboyant costumes and visual styles of glam performers were often camp or androgynous, and have been connected with new views of gender roles.
Glam rock peaked during the mid-1970s with artists including T. Rex, David Bowie, Sweet, Roxy Music and Gary Glitter in the UK and New York Dolls, Lou Reed, Iggy Pop and Jobriath in the US. It declined after 1976, but had a major influence on other genres including punk, glam metal, New Romantics and gothic rock and has sporadically revived since the 1990s.
Characteristics.
Musically glam rock was very diverse, varying between the simple rock and roll revivalism of figures like Alvin Stardust to the complex art rock of Roxy Music, and can be seen as much as a fashion as a musical subgenre. Visually it was a mesh of various styles, ranging from 1930s Hollywood glamour, through 1950s pin-up sex appeal, pre-war cabaret theatrics, Victorian literary and symbolist styles, science fiction, to ancient and occult mysticism and mythology; manifesting itself in outrageous clothes, makeup, hairstyles, and platform-soled boots. Glam is most noted for its sexual and gender ambiguity and representations of androgyny, beside extensive use of theatrics. It was prefigured by the showmanship and gender identity manipulation of American acts such as The Cockettes and Alice Cooper, the latter of which combined glam with shock rock.
History.
David Bowie during the Ziggy Stardust and the Spiders Tour.
Glam rock emerged from the English psychedelic and art rock scenes of the late 1960s and can be seen as both an extension of, and reaction against, those trends. Its origins are associated with Marc Bolan, who had renamed his folk duo T. Rex and taken up electric instruments by the end of the 1960s. Often cited as the moment of inception is his appearance on the UK TV programme Top of the Pops in March 1971 wearing glitter and satins, to perform what would be his second UK Top 10 hit (and first UK Number 1 hit), "Hot Love". In 1973, a few months after the release of the album Tanx, Bolan captured the front cover of Melody Maker magazine with the declaration "Glam rock is dead!" T. Rex's following albums attempted to branch into different styles of music, a move that found him fall out of favour with the British public.
From late 1971, already a minor star, David Bowie developed his Ziggy Stardust persona, incorporating elements of professional make up, mime and performance into his act. Bowie in a 1972 interview while noting that other artists described as glam rock were doing different work said "I think glam rock is a lovely way to categorize me and it's even nicer to be one of the leaders of it". These performers were soon followed in the style by acts including Roxy Music, Sweet, Slade, Mott the Hoople, Mud and Alvin Stardust. While highly successful in the single charts in the UK, very few of these musicians were able to make a serious impact in the United States; Bowie was the major exception becoming an international superstar and prompting the adoption of glam styles among acts like Lou Reed, Iggy Pop, New York Dolls and Jobriath, often known as "glitter rock" and with a darker lyrical content than their British counterparts.
In the UK the term glitter rock was most often used to refer to the extreme version of glam pursued by Gary Glitter and his support musicians the Glitter Band, who between them achieved eighteen top ten singles in the UK between 1972 and 1976. A second wave of glam rock acts, including Suzi Quatro, Roy Wood's Wizzard and Sparks, dominated the British single charts from about 1974 to 1976. Quatro directly inspired the pioneering Los Angeles based all-girl group The Runaways. Existing acts, some not usually considered central to the genre, also adopted glam styles, including Rod Stewart, Elton John, Queen and, for a time, the Rolling Stones. Punk rock, often seen as a reaction to the artifice of glam rock, but using some elements of the genre including makeup and involving cover versions of glam rock records, helped end the fashion for glam from about 1976.
Influence.
Noddy Holder (right) and Dave Hill (left) of Slade, near the height of their fame in 1973, showing some of the more extreme glam rock fashions
Although glam rock went into a steep decline in popularity in the second half of the 1970s it was a direct influence on acts that rose to prominence later, including Kiss and American glam metal acts like Quiet Riot, W.A.S.P., Twisted Sister and Mötley Crüe. It was a major influence on the New Romantics in Britain, acts like Adam Ant and Flock of Seagulls extended it, and its androgyny and sexual politics were picked up by acts including Culture Club, Bronski Beat and Frankie Goes to Hollywood. It also had an influence on the formation of gothic rock, which was completely informed by the make-up, clothes, theatricality and sound, and even on punk rock, which adopted some of the performance and persona-creating tendencies of the genre, as well as the genre's emphasis on pop-art qualities and simple but powerful instrumentation. In Japan in the 1980s, visual kei was strongly influenced by glam rock aesthetics. Glam has since enjoyed continued influence and sporadic modest revivals in R&B crossover act Prince, and bands such as Marilyn Manson, Placebo, Chainsaw Kittens, Spacehog and the Darkness.
Film.
Some examples of movies that reflect glam rock aesthetics include:
T.Rex's documentary Born to Boogie (1972)
David Bowie's Ziggy Stardust and the Spiders from Mars: The Motion Picture (1973)
Brian De Palma's Phantom of the Paradise (1974)
Gary Glitter's Remember Me This Way (1974)
The Rocky Horror Picture Show (1975)
Slade's Slade in Flame (1975)
Never too Young to Rock (1975)
Todd Haynes's Velvet Goldmine (1998)
John Cameron Mitchell's Hedwig and the Angry Inch (2001)
Jobriath's Jobriath A.D. (2011).
*
174.Canon.
In fiction, canon is the material accepted as part of the story in an individual universe of that story. It is often contrasted with, or used as the basis for, works of fan fiction. The alternative terms mythology and continuity are often used, with the former being especially to refer to a richly detailed fictional canon requiring a large degree of suspension of disbelief (e.g. an entire imaginary world and history).
Origin.
The use of the word "canon" in reference to a set of texts derives from Biblical canon, the set of books regarded as scripture, as contrasted with non-canonical Apocrypha. The term was first used by analogy in the context of fiction to refer to the Sherlock Holmes stories and novels, written by Sir Arthur Conan Doyle. Ronald Knox used the term in a 1911 essay "Studies in the Literature of Sherlock Holmes" to distinguish Doyle's works from subsequent pastiches by other authors. It has subsequently been applied to many media franchises. Among these are science fiction and fantasy franchises such as Star Trek, Star Wars, Harry Potter, Halo, Fallout, The Elder Scrolls, Mass Effect, BioShock, Doctor Who, Middle-Earth, A Song of Ice and Fire, the Narnia series, the The Dark Tower books, and Dinotopia, in which many stories have been told in different media, some of which may contradict or appear to contradict each other.
Canonicity.
When there are multiple "official" works or original media, the question of what is and what is not canonical can be unclear. This is resolved either by explicitly excluding certain media from the status of canon (as in the case of Star Trek), by assigning different levels of canonicity to different media (as in the case of Star Wars), by considering different but licensed media treatments official within their own continuities but not across them (as with Battlestar Galactica), or not resolved at all. The use of canon is of particular importance with regard to reboots or re-imaginings of established franchises, such as the 2009 Star Trek film, because of the ways in which it influences the viewer experience.
The official Star Trek website describes Star Trek canon as "the events that take place within the live-action episodes and movies" (that is, the television series Star Trek, Star Trek: The Next Generation, Star Trek: Deep Space Nine, Star Trek: Voyager, Star Trek: Enterprise, and the Star Trek motion pictures). Events, characters and story lines from tie-in novels, comic books, video games and Star Trek: The Animated Series are explicitly excluded from the Star Trek canon, but the site notes that elements from these sources have been subsequently introduced into the television series, and says that "canon is not something set in stone." One example of a non-canonical element that later became canonical in the Star Trek universe was the name "Tiberius" becoming the official middle name of Enterprise captain James T. Kirk. The name was introduced in the Star Trek animated series, and was later added into the official biography of the character by its mention in the live-action film Star Trek VI: The Undiscovered Country.
The Star Wars canon originally existed on several levels. The highest level was the original Star Wars films, and statements by George Lucas; tie-in fiction from the Expanded Universe had a different level of canonicity. The complex system is maintained by Leland Chee, a Lucasfilm employee. The makers of Doctor Who have generally avoided making pronouncements about canonicity, with Russell T Davies explaining that he does not think about the concept for the Doctor Who TV series or its spin-offs.
*
175.Method Acting.
In the dramatic arts, method acting is a group of techniques actors use to create in themselves the thoughts and feelings of their characters, so as to develop lifelike performances. Though not all method actors use the same approach, the "method" (sometimes capitalized as Method) refers to the methods used by actors, which are based on the teachings and concepts of Constantin Stanislavski. Stanislavski's ideas were adapted by teachers such as Stella Adler, Robert Lewis, Sanford Meisner and Lee Strasberg for American actors. Strasberg's teaching emphasized the practice of connecting to a character by drawing on personal emotions and memories, aided by a set of exercises and practices including sense memory and affective memory. Stanislavski's system of acting was the foundation of Strasberg's technique. Rigorous adherents of Strasberg's technique are now commonly referred to as "method actors".
Method acting has been described as having "revolutionized American theater". While classical acting instruction "had focused on developing external talents", the method was "the first systematized training that also developed internal abilities (sensory, psychological, emotional)".
Origins.
Main article: Stanislavski's system
It was derived from the "system" created by Constantin Stanislavski, who pioneered similar ideas in his quest for "theatrical truth". This was done through his friendships with Russia's leading actors, his collaborations with playwright Anton Chekhov, and his own teaching, writing, and acting at the Moscow Art Theatre (founded in 1897).
Strasberg's students included many of the best known American actors of the latter half of the 20th century, including Paul Newman, Al Pacino, George Peppard, Dustin Hoffman, Marilyn Monroe, Jane Fonda, Jack Nicholson, Mickey Rourke, and many others. Using the method, the actor also recalls emotions or reactions from their own life and uses them to identify with their character.
Technique.
"The method" refers to the teachings of Lee Strasberg, to Group Theatre colleagues, including Stella Adler, Robert Lewis, and Sanford Meisner, and to other schools of acting influenced by Stanislavski's system, each of which takes a slightly different approach.
Generally, method acting combines the actor's careful consideration of the character's psychological motives and personal identification with the character, possibly including a reproduction of the character's emotional state by recalling emotions or sensations from the actor's own life. It is often contrasted with acting in which thoughts and emotions are indicated, or presented in a clichéd, unrealistic way. Among the concepts and techniques of method acting are substitution, "as if", sense memory, affective memory, animal work, and archetype work. Strasberg uses the question, "What would motivate me, the actor, to behave in the way the character does?" Strasberg asks the actor to replace the play's circumstances with his or her own, the substitution.
Sanford Meisner, another Group Theatre pioneer, championed a closely related version of the method, which came to be called the Meisner technique. Meisner broke from Strasberg on sense memory and affective memory?basic techniques espoused by Strasberg through which actors access their own personal experiences to identify with and portray the emotional lives of their characters. Meisner believed this approach made actors focus on themselves and not fully tell the story. He advocated actors fully immersing themselves "in the moment" and concentrating on their partner. Meisner taught actors to achieve spontaneity by understanding the given circumstances of the scene (as did Strasberg). He designed interpersonal exercises to help actors invest emotionally in the scene, freeing them to react "honestly" as the character. Meisner described acting as "...living truthfully under imaginary circumstances".
Robert Lewis also broke with Strasberg. In his books Method?or Madness? and the more autobiographical Slings and Arrows, Lewis disagreed with the idea that vocal training should be separated from pure emotional training. Lewis felt that more emphasis should be placed on formal voice and body training, such as teaching actors how to speak verse and enunciate clearly, rather than on pure raw emotion, which he felt was the focus of method training.
Stella Adler, an actress and acting teacher whose students include Marlon Brando, Warren Beatty, and Robert De Niro, also broke with Strasberg after she studied with Stanislavski himself, by which time he had modified many of his early ideas. Her version of the method is based on the idea that actors should conjure up emotion not by using their own personal memories, but by using the scene's given circumstances. Like Strasberg's, Adler's technique relies on carrying through tasks, wants, needs, and objectives. It also seeks to stimulate the actor's imagination through the use of "as ifs". Adler often taught that "drawing on personal experience alone was too limited". Therefore, she urged performers to draw on their imaginations and utilize "emotional memory" to the fullest.
Contemporary approaches.
Contemporary method acting teachers and schools often synthesize the work of their predecessors into an integrated approach. They reject the notion that any one of the major method teachers of the 20th century was completely correct or incorrect, and they continue to develop new acting tools and techniques.
In addition to taking an integrated approach, contemporary actors sometimes seek help from psychologists or use imaginative tools such as dream work or archetype work to remove emotional blocks.
Teachers.
Constantin Stanislavski described his acting system in a trilogy of books set in a fictional acting school: An Actor Prepares, Building a Character, and Creating a Role. He also wrote an autobiography, My Life in Art. Acting teachers inspired by Stanislavski include:
Richard Boleslawski, actor, film director, and founder of the American Laboratory Theatre in New York.
Michael Chekhov, an actor, director, and author (and nephew of Anton Chekhov) whose technique enhanced and complimented Stanislavski's over the course of his career at the Moscow Art Theater and later his film work in Hollywood.
Maria Ouspenskaya, an actress who taught at the American Laboratory Theatre. Her students included John Garfield, Stella Adler, and Lee Strasberg.
Lee Strasberg, a director, actor, and producer whose teachings are most closely associated with the term Method acting.
Stella Adler, an actress and founder of the Stella Adler Conservatory in New York City.
Andrey Vasilyev, an actor and founder of the Stanislavski Studio in Los Angeles.
Herbert Berghof, founder of HB Studio in New York City.
Uta Hagen, an actress and the author of Respect for Acting and A Challenge for the Actor, who emphasized the techniques of identity and substitution.
Robert Lewis, an actor, director, co-founder of the Actors Studio, and author of Method?or Madness?
Peggy Feury, an actress, member of the Actors Studio, and teacher.
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