Los Angeles Valley College - Crown Yearbook (Valley Glen, CA)

 - Class of 1974

Page 63 of 120

 

Los Angeles Valley College - Crown Yearbook (Valley Glen, CA) online yearbook collection, 1974 Edition, Page 63 of 120
Page 63 of 120



Los Angeles Valley College - Crown Yearbook (Valley Glen, CA) online yearbook collection, 1974 Edition, Page 62
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Los Angeles Valley College - Crown Yearbook (Valley Glen, CA) online yearbook collection, 1974 Edition, Page 64
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Page 63 text:

mf Highlighting his potential as an upcoming prolessional Dam' Anas 'emamed on stage almost me actor, Jeff Reese holds his own during the "Caretaker". "The first scene in the play brings in the charac- ters and the exposition. It tells the audience what's going on, and it develops conflicts between the characters," said Arias. He has learned that it is an actor's responsibility to inform the audience at the beginning of each scene where he has come from and why and for what reasons he is there. The devaluation of Riley's Notebook is not fore- seen by Arias, who anticipates using his character and situational scene notes as possible research material for future roles. Aside from experiencing an effective directional method under which he can work competently, Arias has developed his own philosophical theory on the theater. "There are no holidays in the theater - just small actors." - David Arias V 59

Page 62 text:

EUUIEYUS Niki' Ll 'l:ZI:13tf 00 OK4 By Vanessa Finan Illustrated by lohn Rosenfield A standing ovation performance warrants an ex- planation of the factors which added up to its success. The Theater Arts Departments first major produc- tion of the year, "The Caretaker," by Harold Pinter, stands out as a production which cannot dissolve to mere memory. Even though the sets, props, and backdrops may never be used again, the material strongbox of the play's riches lingers on for probable recycling in the enigma of Patrick Riley's Notebook. Patrick Riley, associate professor of theater arts, directed "The Caretaker," utilizing the method of a production notebook. It was as fundamental a tool to the cast as their early education in reading, writing, and arithmetic. At the time David Arias experienced playing "The Caretaker's" Davies, he found Riley's Notebook to be the most effective directional method he had ever encountered. "The whole point of the note- book is having an order to what you do," explained Arias. The notebook's primary organs included getting to know your fellow actor, character analysis, and scene composition. "The method of Riley's Notebook, first goes about by studying one's fellow actor and knowing him as a human being." Arias started by watching his two fellow actors, jeff Reese and john Walker. He observed the way they sat and talked and their reactions to things. He proceeded to feed his characterization with data concerning the most effective devices he could use to arouse a favorable or a derogatory reaction from his fellow thespians. Knowing their personal likes and dislikes aided him in the process. The Character section demanded the creation of a plausible and believable interpretation of the char- acter. The actors had to compile a character history from as far back as baptism and reaching to future goals and aspirations. Arias defines the purpose of a scene as being a tool used for the passage of time or location change. John Walker electrified the audience each time he appeared on stage.



Page 64 text:

ake-up -.7 ui .. .Kg if 4? J. Synthesizing the creases, wrinkles, bumps, and bags ol old age, actor Ted Samuels prepares for his portrayal of Mr. De Pinna in the Valley College production of "You Can't Take lt With You." Samuels creates three- dimensional skin shadows with white and brown Pan-Stik, while sharper tones are painted on with theatrical eye liner. De Pinna's characterization requires Samuels to hide his tull head of hair under a skull cap fastened and blended with a latex adhesive. Moustache and beard are grayed by a tooth brush application of powdered hair whitener. I u -:E v Tn:

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