Similarities: Bert v Kari

Similarities

J is my favorite. I love the way Brecht describes the changing physical conditions of the character and I love how that is so poignantly appropriate to the Margolis Method.

Also, the number after Brecht's idea/quote is the chapter it comes from. I've read a little bit more than the assigned chapters, so there are some pulled from other chapters.

FEEL FREE TO ADD MORE!!

a) Brecht goes on to discuss the acting of his V-effect, which he contends is nothing to do with “ordinary stylization.” - 24
a) Kari contends the Margolis Method is not an aesthetic.

b) Brecht was impressed by actors who could “demonstrate the elements of his art…without special lighting and wearing a dinner jacket in an ordinary room full of specialists?” - 24
b) Kari believes theatre is, “making something out of nothing.”

c) Brecht denounces the types of performances that unfold by an “accordingly murky process which takes place in the subconscious” a place “not at all responsive to guidance.” - 24
c) Kari demands training in a philosophical methodology with a focused technique to remove all murkiness in acting and to make choices guided by that very training.

d) “The artist’s object is to appear strange and even surprising to the audience…Everyday things are thereby raised above the level of the obvious and automatic.” Brecht – 24
d) In the Method, we interact with objects to support an overarching metaphor relating to the object, inflating the object’s dramatic weight, giving dimension and shape to the story we’re telling. Things in our storytelling are “thereby raised above the level of the obvious and automatic.”
EX: telephone/wine glass improvs

e) Brecht noticed Chinese actors chose the best position onstage to be seen just as acrobats do, he admired this technique in supporting his V-effect
e) We do this in the Margolis Method, always both inside the character and thinking about what the audience needs

f) Brecht felt it was necessary that the “artist “observes” himself” to achieve his V-effect.
f) In the Margolis Method the acting beat is not complete until the actor responds to her own action, thus observing herself.

g) Brecht was very dissatisfied with the theatre around him.
g) Kari is very dissatisfied with the theatre around her.

h) Brecht built a career and his artistic pursuits in response to the inadequate theatre he felt was dominating.
h) Kari built a career and her artistic pursuits in response to the inadequate theatre she felt was/is dominating.

i) “But possibly you will come to quite a different conclusion. To which I am the last person to object.” Brecht allows for a varied range of response to his works and invites differences of opinions. - 6
i) Kari also invites a myriad of interpretation, as she feels the audience is as vital to the playwriting as the actors.

j) “Even when a character behaves by contradictions that’s only because nobody can be identically the same at two unidentical moments. Changes in his exterior continually lead to an inner reshuffling. The continuity of the ego is a myth. A man is an atom that perpetually breaks up and forms anew. We have to show things as they are.” Brecht – 5
j) Margolis Method notion of reacting based on your physical conditions, thus might be laughing one moment, crying the next.

k) Brecht advocated for a smoking theatre, like a boxing match…Brecht was trying to perturb and disrupt traditional understandings of theatre. - 3
k) the ADAPTORS perturb and disrupt traditional understandings of theatre because each artist acts as director, playwright, and actor.

l) Kari & Brecht share the fascination with the fact that we can get 30,000 people to buy tickets to a football game - 3
-they ticket buyers know the rules of the game
-there is no mysticism

well done......

inspiring!!!!!