Kelas Akting DFC angkatan 9
>> 08 Mei 2010
Kelas Akting DFC angkatan 9 telah dibuka. Pendaftaran dapat dilakukan di Jl. Wahyu 1 No. 98, Fatmawati, Jakarta Selatan. Telp 7660947, 08128662840.
Read more...
MATERI WORKSHOP PENYUTRADARAAN
>> 12 April 2010
Materi Workshop Penyutradaraan
Dasar-dasar teknis pemahaman tentang film dan pembuatan film :
1. Sejarah singkat film
2. Pengetahuan ttg screen direction, framing, tipe-tipe shot dll.
3. Pengetahuan dasar tentang kamera, pergerakan kamera dan lensa
4. Pengetahuan tentang produksi, art, wardrobe dan make up
5. Staging
6. Post production dll
7. Sutradara membaca skenario (memahami tema, menemukan kekuatan cerita, merumuskan gaya, pukulan pertama dan akhir dari sebuah film) - RIRI RIZA
8. Sutradara dan konsep editorial (menciptakan film di kepala, melalui urutan sequence, scene dan shot) - RIRI RIZA
9. Sutradara dan Shot
10. Sutradara dan bintangnya (karakter dalam cerita dan bagaimana menemukan hero dalam film) - RIRI RIZA
11. Apa yang dijual sutradara dalam filmnya - RIRI RIZA
Inilah sebagian materi yang akan diberikan dalam Workshop Penyutradaraan di DFC.
tips
>> 09 April 2010
Become an Actor
If you're wondering what it takes to make it in the acting field, you need to ask yourself one very important question before you begin: Why do you want to become an actor? If you answer is that you want to be rich and famous, you should stop right now. Like any art, acting takes hard work and passion for the craft. The business can be gruelling and almost always involves a lot of rejection. There are thousands of actors who work constantly, but are never known by name. They keep at their art because they love it. If you are going to become an actor, so should you.
The World is a Stage!
Any kind of life experience can benefit your acting talent as long as you learn from it. While you need solid, tangible roles and training to build your resume, any project that you undertake that helps you reflect on yourself can be considered a victory. There's no substitute for work experience and training, but life experience adds the seasoning that makes a better actor. Pay attention to all that happens in your life -- good and bad. Living your life fully and with open eyes will make any role you play richer and more real.
Acting information can be acquired in several different ways. You can speak with your peers and people you are connected to who have previous industry experience. For training information check out classes offered at local acting schools. You can find lists of these online. Information on casting directors and agents can be found readily in industry publications such as Ross Reports. You may wish to gain experience by acting in studnet films. Try calling the film departments of schools of the arts in your area.
WORKSHOP PENYUTRADARAAN
>> 08 April 2010
Workshop Penyutradaraan dimulai tanggal 4 Mei 2010. Pengajar (fixed) adalah : RIRI RIZA, JOHN DE RANTAU dan MATHIAS MUCHUS. Jumlah pertemuan 12 kali dan pada akhir pertemuan membuat film pendek. Pendaftaran masih dibuka, bagi yang berminat untuk info lebih lanjut dapat menghubungi Jl. Wahyu 1 No. 98, Fatmawati, Gandaria Selatan, Jakarta 12420, Telp. 021-7660947, 08128662840.
Read more...Kelas Mathias Muchus, Sabtu 20 Maret 2010
>> 18 Maret 2010
Sabtu, 20 Maret 2010 jam 14.00 kelas akting akan diisi oleh Mathias Muchus. Bagi seluruh peserta DFC Acting Course yang mengikuti kelas tersebut agar hadir sebelum jam 14.00. Terima kasih.
Read more...Kelas Butet Kartaredjasa & Mathias Muchus
>> 04 April 2009
Dari waktu ke waktu DFC Acting Course terus berusaha meningkatkan pemberian materi kepada para peserta, termasuk dalam angkatan 6 ini. Pada tanggal 6 april jam 11.00 siang, Butet Kartaredjasa akan memberikan materi dalam kelas di DFC Acting Course.
Untuk rencana selanjutnya, Mathias Muchus juga akan masuk memberikan materi akting di DFC Acting Course, mengenai waktu akan diberitahukan secepatnya.
Angkatan 7 telah dibuka
>> 18 Maret 2009
DFC Acting Course angkatan ke 7 telah dibuka pendaftarannya, bagi yang berminat untuk mengikuti pelatihan harap segera mendaftarkan diri ke DFC (Dapur Film Community) Jl. AMD VIII No. 40 Lenteng Agung Jakarta Selatan (TB Simatupang). Atau dengan menghubungi Eri : 08128662840
Read more...Idealism versus Commercialism in Indonesian Cinema: A Neverending Battle?
by: Ekky Imanjaya
Art films or commercial films? Idealism or commercialism? The dualism way of filmmaking in Indonesian film industry occurred for a very long time: Terang Boelan vs Pareh in the 1930s, Tarminah vs Lewat Djam Malam in the 1950s, Sexploitation films vs Garin Nugroho’s in the 1990s, and the list continues. Toward a historical overview, Ekky Imanjaya elaborate both sides of pole--from the birth, their struggles and battles again each other, the developments, the achievements, until recent progresses. But, as a matter of fact, there are some attempts to break the dichotomy and unite both groups in one package.
Resensi Generasi Biru:
Generasi Dalam Bingkai Keliru
oleh :Eric Sasono
Generasi Biru: - Slank adalah salah satu tanda generasi yang penting. Slank dan ”jemaah”-nya lahir dari sebuah keberhasilan deidologisasi dan depolitisasi oleh rezim Orde Baru. Mereka jadi suara moral, tapi bukan dari jenis suara yang sama dengan, misalnya, Munir, yang penuh perlawanan itu. Mereka juga berbeda dari Kantata Takwa. Sayang sekali, menurut redaktur kami, Eric Sasono, film Generasi Biru gagal menangkap apa yang membuat Slank penting. Sutradara Garin Nugroho, John De Rantau, dan Dossy Omar (segmen dokumenter) terjebak dalam sebuah ”kekacauan demi kekacauan itu sendiri.” Keterjebakan itu, bagi Eric, lahir dari sebuah salah baca terhadap Slank. Dan kesalahan membaca itu, mengundang hadirnya catatan lain. Ini genting, jika kita setuju Eric, karena membaca Slank adalah membaca sebuah generasi.
Sumber : rumahfilm.org
Cold Reading Audition
>> 15 November 2008
Cold reading auditions are different than other auditions. Here you'll be given a script at the audition and you'll play through a scene using the script that you were giving. Most of the time you will have very little preparation, or maybe even no time preparation at all.
Since you don't have very much time to prepare, many actors find these types of auditions quite difficult. So, since they are bit on the difficult side, let's look at some helpful tips that will help you get through a cold reading audition with flair.
Tip#1-Look Down as Little as Possible
Since you may have never seen the script you are using before, you may be tempted to keep your eyes glued on your script, but you don't want to give the director just a look at the top of your head during the audition.
While you are reading through the script and doing your lines, take a quick look at your line, memorize it quickly then, deliver it whike look up so the director will be able to see your face and your expressions. Looking down from time to time is fine, just don't constantly keep your head down in the script.
Tip#2-Listen to the Character Description and Scene Setting
Make sure that you listen to the character description and scene setting that the director gives you before you get started. While you may be tempted to start looking over the lines, knowing the character description and scene setting is more important so you'll be able to understand exactly what the director is really looking for.
Tip#3- Really Communicate and "Play" the Lines
When you are reading with another actor, communication is important. Make sure that you look at the other actor you are reading with and actually communicate and "play" those lines as you speak them. Make the lines real and believeable.
Tip#4-Use Movement and Gestures
Some actors are a bit afraid to move around, but when you are at acold reading audition, using movement and gestures are fine. Just make sure that they compliment the character you are playing.
Tip#5-Watch Your Posture
Your posture is very important as well. Make sure that your posture is playing the role taht you are reading. Acting with your voices is important, but using other body language and posture is important as well.
Tip#6-Always Arrive Early
When going to cold reading auditions, always make sure that you arrive early. This way you'll be able to become a bit more familiar with the area you'll be auditioning in. You'll also make sure that you hear any announcements that are made before the audition as well.
Fundamental Differences Between Stage Acting and Film Acting
>> 15 Oktober 2008
A. Stage Acting:
In theatre, once the curtain goes up, the actor tends to dominate. A stage actor has more control over his or her performance than an actor in film. The requirements are different for stage acting and film acting.
1. It is essential that the stage actor be seen and heard clearly. The actor should have a flexible, trained voice and must be trained in vocal projection.
2. The playwright’s language is a major source of meaning in the theatre. To convey nuances of dialogue the stage actor must have variety and vocal expressiveness. Proper stress, phrasing, and breathing are necessary. The stage actor must be believable, even when reciting lines of dialogue that may be stylized.
3. A theatrical performance depends on the acting and the actors receive most of the credit for a production. This means that they are also assigned most of the blame when the production is boring.
4. On the stage good actors can play roles very different from their own ages-younger or older.
5. Since the stage actor’s entire body is always in view, the actor must be able to control it. Activities that one does every day (sitting, standing, walking, moving one’s hands) are performed differently on stage. Actors must know how to move in period costume and how to adjust their bodies to different characters. The actor must convey the inner life of the character through his or her body.
6. Acting in theatre is in real time; therefore the actor must pace performances and build scene by scene. Stage actors must create the “illusion of the first time” for every performance, sometimes for a long running play.
7. Actors must maintain an energy level from scene to scene and for the whole performance. The actor must correct mistakes because a scene cannot be replayed or cut. The actor needs stage technique.
B. Film Acting
1. The film actor needs very little stage technique. Essentially what a performer in movies needs is “expressiveness.” The actor must have a photogenic face. Too much technique can make a performer seem to be overacting.
2. Acting in film is almost totally dependent on the director’s approach to the screen play. The realistic director relies more on the abilities of the actors, filming more long shots. This technique keeps the actor’s entire body in the frame, and this camera distance corresponds to the proscenium arch of the theatre. The realist tends towards lengthy takes, in order to help the actors sustain performances without interruption. The formalistic director prefers to convey ideas and emotions through edited juxtapositions.
3. The film actor is not dependent on vocal flexibility. Many actors have succeeded with relatively inexpressive voices. Marilyn Monroe, Clint Eastwood, and Arnold Schwarzenegger, come to mind. Even the quality of a film actor’s voice can be controlled mechanically.
4. Most films are shot out of sequence, due to economic considerations. The actor may be required to perform a climactic scene before an earlier low-keyed scene. The film actor must have a high degree of concentration to be able to turn emotions on and off.
5. Film has Close-Up shots. Michael Caine in his book, ACTING IN FILM: AN ACTORS’ TAKE ON MOVIE MAKING, says: It (the close-up) can give an actor tremendous power, but that potential energy requires enormous concentration to be realized. The close-up camera won’t mysteriously transform a drab moment into something spectacular unless the actor has found something spectacular in the moment. In fact it will do just the opposite: the close-up camera will seek out the tiniest uncertainty and magnify it. “Drying” (forgetting your lines) can be covered up on stage. . . .. But the camera will betray the smallest unscheduled hesitation. If a member of the crew walks across my eye-line, off camera, when I’m doing a close-up, I immediately ask for a retake. I may not have thought my concentration lapsed—the director may assure me everything is fine—but the camera will have caught that minute flicker at the back of my eyes.
6. Michael Caine gives this advice to theatre actors entering the world of film for the first time:
Not only have you got to know your lines on day one, you will also have directed yourself to play them in a certain way, and all this accomplished without necessarily discussing the role with the director, without meeting the other people in the cast, without rehearsal on the set. The stage actor is used to slowly wading into the play’s reality. First a read-through with the assembled cast to acquaint him with the broad outline of the author’s intentions. Then the director’s view. Then maybe a free-for-all discussion. Gradually, book in hand, stage actors splash themselves with gentle doses of the play, scene by scene, starting with Act One, Scene One. Pity the poor stage actor who is about to be immersed, Baptist style, in the movies. Plays are performed. Movies are made.
By: Carol Penney (Yale-New Haven Teachers Institute)
Read more...
In theatre, once the curtain goes up, the actor tends to dominate. A stage actor has more control over his or her performance than an actor in film. The requirements are different for stage acting and film acting.
1. It is essential that the stage actor be seen and heard clearly. The actor should have a flexible, trained voice and must be trained in vocal projection.
2. The playwright’s language is a major source of meaning in the theatre. To convey nuances of dialogue the stage actor must have variety and vocal expressiveness. Proper stress, phrasing, and breathing are necessary. The stage actor must be believable, even when reciting lines of dialogue that may be stylized.
3. A theatrical performance depends on the acting and the actors receive most of the credit for a production. This means that they are also assigned most of the blame when the production is boring.
4. On the stage good actors can play roles very different from their own ages-younger or older.
5. Since the stage actor’s entire body is always in view, the actor must be able to control it. Activities that one does every day (sitting, standing, walking, moving one’s hands) are performed differently on stage. Actors must know how to move in period costume and how to adjust their bodies to different characters. The actor must convey the inner life of the character through his or her body.
6. Acting in theatre is in real time; therefore the actor must pace performances and build scene by scene. Stage actors must create the “illusion of the first time” for every performance, sometimes for a long running play.
7. Actors must maintain an energy level from scene to scene and for the whole performance. The actor must correct mistakes because a scene cannot be replayed or cut. The actor needs stage technique.
B. Film Acting
1. The film actor needs very little stage technique. Essentially what a performer in movies needs is “expressiveness.” The actor must have a photogenic face. Too much technique can make a performer seem to be overacting.
2. Acting in film is almost totally dependent on the director’s approach to the screen play. The realistic director relies more on the abilities of the actors, filming more long shots. This technique keeps the actor’s entire body in the frame, and this camera distance corresponds to the proscenium arch of the theatre. The realist tends towards lengthy takes, in order to help the actors sustain performances without interruption. The formalistic director prefers to convey ideas and emotions through edited juxtapositions.
3. The film actor is not dependent on vocal flexibility. Many actors have succeeded with relatively inexpressive voices. Marilyn Monroe, Clint Eastwood, and Arnold Schwarzenegger, come to mind. Even the quality of a film actor’s voice can be controlled mechanically.
4. Most films are shot out of sequence, due to economic considerations. The actor may be required to perform a climactic scene before an earlier low-keyed scene. The film actor must have a high degree of concentration to be able to turn emotions on and off.
5. Film has Close-Up shots. Michael Caine in his book, ACTING IN FILM: AN ACTORS’ TAKE ON MOVIE MAKING, says: It (the close-up) can give an actor tremendous power, but that potential energy requires enormous concentration to be realized. The close-up camera won’t mysteriously transform a drab moment into something spectacular unless the actor has found something spectacular in the moment. In fact it will do just the opposite: the close-up camera will seek out the tiniest uncertainty and magnify it. “Drying” (forgetting your lines) can be covered up on stage. . . .. But the camera will betray the smallest unscheduled hesitation. If a member of the crew walks across my eye-line, off camera, when I’m doing a close-up, I immediately ask for a retake. I may not have thought my concentration lapsed—the director may assure me everything is fine—but the camera will have caught that minute flicker at the back of my eyes.
6. Michael Caine gives this advice to theatre actors entering the world of film for the first time:
Not only have you got to know your lines on day one, you will also have directed yourself to play them in a certain way, and all this accomplished without necessarily discussing the role with the director, without meeting the other people in the cast, without rehearsal on the set. The stage actor is used to slowly wading into the play’s reality. First a read-through with the assembled cast to acquaint him with the broad outline of the author’s intentions. Then the director’s view. Then maybe a free-for-all discussion. Gradually, book in hand, stage actors splash themselves with gentle doses of the play, scene by scene, starting with Act One, Scene One. Pity the poor stage actor who is about to be immersed, Baptist style, in the movies. Plays are performed. Movies are made.
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