Craig's Test

[Craig]

I wasn't sure if you had seen this or not but the original post was
March 6. Here it is again :)
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Anatoly,

Craig Parsel.

Here's the paper:

Craig Parsel
Anatoly Antohin
Theater 221
06 March, 2007
Method Acting vs. Epic Theater

Influenced by the Stanislavski System, method acting is an
acting
technique that was introduced by Konstantin Stanislavski, where the
actor analyses deeply the emotions and motivations of the character in
order to personify him with psychological realism and emotional
authenticity. And when the actor uses this method, the actor will
recall the reactions and or emotions from their personal past and they
will use those feelings to create and identify the character being
played.

In order for the actor to accomplish his goal the members of the
audience have to be able to partake in the same emotions that the
actor displays. If the audience can not share these emotions, then
the actor has either failed at what they're doing, or the audience
just does not want to be a part of the play. That brings up the
fourth wall as well. If the actor can break the wall that separates
him between the audience, then the play will be successful!

Of course, in method acting, there are three parts that are: the
exposition, which is like the introduction, the climax, which is the
highest point of the entire play, and the resolution, which is simply
the conclusion that wraps up the entire play. There should be no more
after the resolution; it should be the last and final part that will
not lead the audience into any more of the play.

Linked to the German playwright, Bertolt Brecht, Epic Theater,
which
is also known as theater of politics or theater of alienation, assumes
that the purpose of the play, rather than entertaining reality. While
watching an epic theater, the audience should remain an emotional
distance from what's happening.

To act in an epic theater, the actor must play their
characters
believably without trying to convince themselves and the audience that
they are the character. Sometimes the actor will speak with the
audience one on one, in order to break the fourth wall that separates
the two.