Acting Skills and communicating with the audience

The audience does not know where to look during a performance and can look anywhere they want, so one of the roles of the director is to plan out where to place the actors on stage to force the audience to pay attention to that specific area. This is done through a variety of ways that includes placing the actors on the stage in specific formations/movements or through the use of light. These specific formations have often been called Stage Sculptures, Pyramid formations, or simply Blocking.

If we look only to the way in which we can manipulate people on stage, we have the ability to play with 4 main things:

Levels :

1 (standing upright)

2 (hunched over or bent in some way).

3 ( Kneeling or sitting on the floor but majority is off the floor)

4 (on the floor)

Static versus Dynamic:

Static stance is very box like without much movement of the body. It looks still, and creates no drama in its position. However Dynamic is the manipulation of the spine where the body contorts, twists, or bends to create a form of visual movement which causes interest for the audience to look.

Space and Place:

Space: Positive space is your body. You occupy space. However, Negative space is the space that surrounds your body, in between your arms and around you. You can have varying levels of space... Low Negative space means that all of your limbs are quite tight to your body. High Negative space means that your limbs are spread far away from your body.

Place: Means how close or far away you position your actors. By changing the location of your actors it will play with the relationships that the audience will interpret. The audience craves understanding human connection and will interpret relationships between things/people that you may not intend. By careful arrangement of people on stage you can help manipulate the audience's understanding of the situation. Adjusting people's levels, space, dynamic or static poses, the way they face, and whether they are further away or closer to the audience will all adjust how the audience will feel.

Power and Status:

The Audience will also interpret power and status from the characters on the stage through their use of body expression, facial expression and body position. Careful consideration of the way the actor stands, uses their body and voice will create a sense of power and status for the audience. It is important to consider things like: Height, Body expressions, Facial expressions, stance, and proximity to other's all help communicate a variety of emotions to the audience. Very intricate details in relationships can be interpreted by the audience, and without careful consideration and planning your efforts may not be communicated clearly.

Watch this powerful performance using levels, dynamics, and spacing and placing to communicate meaning to the audience, all done on a small 1m x 2m board. Add in to your Digital Journal your thoughts and comments about this performance.

How do you learn to act? What makes a good actor versus a bad actor?

Are there different ways that you can approach acting?

What is your own personal acting method or way of getting into a character?

• Creating: Theatre artists refine their work and practice their craft through rehearsal. How do theatre artists transform and edit their initial ideas?

• Performing: Theatre artists create and refine their methods as they work. What can I do to fully prepare for a performance?

• Responding: Theatre artists reflect to understand the impact of drama processes and theatre experiences. How do theatre artists comprehend the essence of drama processes and theatre experiences?

• Connecting: Theatre artists critically inquire into the ways others have thought about and created drama processes and productions to inform their own work. In what ways can research into acting theories alter the way a drama process or production is understood?

Most students have only interacted with one type of acting method, the psychological method. The pioneer of this method was Stanislavski, who lived in Russia. He is certainly not the only person to have contributed to the development of this acting method, but he has had a large influence on it. This acting method is the most popular in theatre and film (especially film.)

It depends on “getting into the mind” of the character. It is important to note that most psychological methods are the basis of most of the acting that you see today in films, tv, and broadway theatre.

It is an acting method that is trying to represent reality.

This acting method has only been popular for the last 50ish years. Psychological acting relies on the actor’s ability to put their mind (and thus body) into the experience of the character. Let’s practice some ways of putting our minds into the situation of a character.

Activity: “sense memory” or “sensory recall.”

• Create a short sequence of action that you might normally do during the day. Getting up in the morning, brushing teeth, making breakfast or something similar. Then use your own memories of sensory experiences (for example, burning your hand on the stove) to inform your reaction in real life. You are substituting these memories for the ones that the character might have. Discover as much as possible about the other character. Practise walking around as the character. Introduce character actions from cleaning teeth to fishing to catching a bus. Explore natural, real actions. Consider this within the period of the play, and the effect of costumes for example.

• Prepare to share this in class. This short sequence should be no longer than 1-2 minutes of action. You can use words, and explore a short dialogue, or experiment with how you might want to use some of these skills. Prepare to share out some of your reactions to the following questions below in class.

1. How did your memories inform your facial expressions, movements, and other things?

2. What do you think of this technique?

3. Do you feel like this method will allow you to make believable actions on stage? Why or why not?

Emotional Recall:

This is when you recall more emotional memories and use them as a substitute. This is a challenging technique, so we are going to try to start small. It is also one that we must be very careful with. This requires us to use emotional experiences from our own lives, which means we must be stewards over our own selves. Don’t dip into anything too emotional for these activities. Recalling emotional experiences can result in pulling out unresolved issues that may trigger your emotions in a way that you didn’t plan or want. In fact, the more resolved the memory, the better it is to pull from it. For example, I might have to act out a short scene where my father in the play has just passed away. I might want to pull from life in that I might try and recall the emotions I felt when my pet died, or a best friend. I would then put myself into that time frame where I felt those emotions and use them in the acting sequence to substitute for the situation where my father would have passed away. Obviously, be careful in choosing these situations as if they are too raw, it might hinder the situation and could cause more damage.

You will prepare, practice and then present this monologue to the group. As this activity can be quite significant, you will be recording this to share with the class in video rather than doing this live. Be prepared to share out your thoughts and opinions on the success and choices made by the person presenting. Keep in mind that giving critiques can be delicate and that we are encouraging ourselves to explore and grow in the process.

Be prepared to answer the following questions related to your activity.

1. How did your memories inform your facial expressions, movements, and other things?

2. What do you think of this technique?

3. Do you feel like this method will allow you to make believable actions on stage? Why or why not?

Stanislavski aimed to determine the core of the playwright’s work and devise a system whereby his actors would be true to that core, elaborate on the playwright’s intentions and observe the natural laws of human nature by deconstructing the play, analyzing the intentions and objectives and exploring techniques that would eradicate artifice and establish truth in believable performances.

Key Thoughts:

Given Circumstance- The facts information provided by the playwright.

Magic If- Encouraged actors to believe in circumstances. The actor needs to ask him or herself the question “If I were this person, how would I feel?”

Emotional Memory- When an actor remembers a situation when he/she felt the same, or similar, emotions as their character. Recalling the situation leads to emotion.

In this video assignment that you will post on Google Classroom for only my eyes to see and to assess, you will show your understanding and learning of Stanislavski process by doing the following:

CHOICE 1:

You will prepare a short scene where you are making a confession to someone about something you did. This could be something bad that caused some terrible reactions or situation, or the reverse where it could be that you did something as a surprise for someone else. You will act out this scene on video showing believable emotions that is based on emotional recall or sensory recall. Ensure that I can see your face clearly and can hear you well in your video.

CHOICE 2:

You will present your monologue from F22 with the new adjustments made from reading your peer feedback. You will act out this scene on video showing believable emotions that is based on emotional recall or sensory recall. Ensure that I can see your face clearly and can hear you well in your video.

REQUIREMENT

At the end of the video you will then explain to me how you used the Stanislavski skills to create your scene. Focus on some the key elements of what Stanislavski taught and how you implemented them.

Remember:

What is your own personal acting method or way of getting into a character?

• Creating: Theatre artists refine their work and practice their craft through rehearsal. How do theatre artists transform and edit their initial ideas?

• Performing: Theatre artists create and refine their methods as they work. What can/did I do to fully prepare for a performance?

• Responding: Theatre artists reflect to understand the impact of drama processes and theatre experiences. How do theatre artists comprehend the essence of drama processes and theatre experiences?

• Connecting: Theatre artists critically inquire into the ways others have thought about and created drama processes and productions to inform their own work. In what ways can research into acting theories alter the way a drama process or production is understood?

1. What do you notice about the acting style?

2. Where are they showing emotion the most? Why do you think that is?

3. What are some pros and cons to this acting style?

The psycho-physical technique relies upon drawing emotion from both the mind, and the body.

In this technique, these two things are connected.

This also makes sense because many psychology experiments have shown that when someone does the body language of an emotion (for example, smiling) the person will eventually feel that emotion (which can mean certain chemicals, like serotonin or the chemical that makes you happy, are released in the brain just by doing the physical action. Literally, fake it till you make it can work to your advantage.

Chekhov in Action

When you add a reason or emotion it can become a Psychological gesture.

The AG becomes a training tool to develop the PG's in a scene or monologue.

When to use the psychological gesture?

It can be used from the first work piece to approach the character as a whole. It can also be worked separately to address specific scenes.The gesture is the secret architecture of the character, it should not be shown to the public. It is a tool for exploring and incorporating the character.

How to find the appropriate psychological gesture?

When you approach your character, you ask what is the main desire of your character. Then from there, find a gesture to represent that main desire. Start first with using the hands and then involve the whole body. You can start from a neutral position or a position suggested, or motivated by the character. By continuing to regularly work at your psychological gesture, and by reading the play or the scenario, you will find enhancements to make your move that will become more accurate and close to your character.

Exercises

Exercise 1:

Warmup using the whole body. OPEN up and imagine becoming larger where you are awakening every part of the sleeping body. CONTRACT bringing arms on your chest and making yourself as small as possible. Repeat these movements several times.

LUNGE: Front, Sides, and Back and Hold. Imagine pushing energy out past your limbs into the space around you.

Blacksmith Hammer, Throwing, Lifting, Hold High above the head, Drag, Push, Toss. Don't hold your breath during these exercises and pause after each one. Be aware of sensations.

Exercise 2:

Centers: From here flows all movement and power. Send the power to the Head, arms, hands, torso, legs, feet. Limbs are not connected by the spine but are connected to the source. Imagine the power coming from the and moving into the arms, and legs. Lift arms and lower, stretch with this imagination in place.

Send the impulse for the movement before you do the movement. Move the center outside of the body and use your body to follow that center around you. Walking around the space with different centers. Allow the movement to sustain and hold... extending outwards.

Exercise 3: MOULDING

Mould the space around you. Every movement you create leaves forms in the clay. Create a distinctive beginning, middle, and end of the movement. The Air around you resists you. Change tempos. Move with different parts of the body. Shoulders/back/elbows/knees/forehead/hands.

Once able to do this, now move with the idea that your core is sending out the energy to your limbs as they move through the space carving out the shapes. When you encounter space or shapes, pour your strength and energy into them. Push your energy towards other people. Lift and Isolate your hands and fingers separately. Take/move/lift up/ put down/touch

Exercise 4: FLOATING

Simple well shaped - floating in space. Air is like the surface of water where you pass your fingers over it. Tempo and body parts change.

Exercise 5: FLYING

Imagine Lightness and ease as though you are a bird flying through the air. Tempo and body parts change.

Exercise 6: RADIATING

Warm up moves now with energy pushed into the air. Imagine rays of energy or light coming from your core to through your limbs and out into the space around you. Pass this energy to another.

1. Expansion is pushing your energy out to the world around you through body and face.

2. Contracting is pulling in and recoiling your energy back into your body and face.

3. Radiating is the ability to send out the invisible essence of whatever quality, emotion, or thought you wish. It is an activity of your “will.”

4. Receiving is the ability to “pull in” the qualities, thoughts, and feelings of another character in a scene.

5. You can think of this as the ability to send or use tactics, as well as react or receive tactics by other characters.

How do you think the idea of radiation and psychological gesture are linked?

Have you ever walked into a room and felt the mood in the space?

Have you been alone in a room and felt someone else come in?

Have you ever walked down a space in the dark and were aware of someone walking behind you?

Chekhov Resource for more additional information and instructional videos. If you choose to use Chekhov as your final idea, you may wish for more information. Click HERE

The nature of Physical theatre

At its simplest, you could define Physical theatre as a form of theatre that puts emphasis on movement rather than dialogue. But remember there are a huge number of variations as the genre covers a broad range of work. But essentially Physical theatre is anything that puts the human body at the centre of the storytelling process. As a result it’s often abstract in style, using movement in a stylised and representational way. With the expression of ideas choreographed through movement, such performers use very little or no dialogue at all.

Combining art forms Physical theatre has a focus on movement but can be separate from the spoken word or united with it to expand and explore its meaning. It may well be devised or contain substantial elements of work beyond the printed script. These elements could be other art forms such as music, dance, the use of media or visual images. So you could use a combination of elements that may also be combined with script, for instance. You could reach out to the audience in a way that challenges the so-called fourth wall, making the audience a collaborator in the action. (It’s not unusual for Physical theatre to actually encourage or demand audience participation.)

Companies that use Physical Theatre are: Theatre du Complicite, Theatre du Soleil, Cirque Du Soleil, Legs On The Wall, Mummenschanz, DV8, Frantic Assembly, Familie Flos, Wonderheads, and Fling

5. Suspense or the Reactive (19th century melodrama). Is there a bomb in the room? The crisis is about to happen. All the tension is in the body, concentrated between the eyes. An inbreath. There’s a delay to your reaction. The body reacts. John Cleese.

6. Passionate (opera). There is a bomb in the room. The tension has exploded out of the body. Anger, fear, hilarity, despair. It’s difficult to control. You walk into a room and there is a lion sitting there. There is a snake in the shower.

7. Tragic (end of King Lear when Lear is holding Cordelia in his arms). The bomb is about to go off! Body can’t move. Petrified. The body is solid tension.

JacqueS Lecoq:

• saw the body and how it moved through space as crucial. He wanted to shift conventional word based theatre to a body centred theatre by exploring the relationship between movement and acting.

• believed in the notion of 'play' within theatre. To play allowed the actor to shift the rules to understand the rhythm, tempo and space in a performance.

• He believed metaphor transformed an actor's imaginative and creative energies. "The Journey"

• His actors explored the push and pull, struggle and stability, certainty and uncertainty of life.

• believed in collaborative work to create a dynamic acting ensemble and an auto-cours is where his student actors prepared a short devised performance to present to the whole school.

• believed that actors should train from neutrality to characterisation understand the dynamics of space

• explored what kind of relationships were possible between performers and the audience,

ActivitComplete a short one minute film

Gesture precedes knowledge, Gesture precedes thought, Gesture precedes language .'

Use the associated exercises below to assist you with this work.

• Importance of stripping away - of shedding - superfluous habits and mannerisms.

• Learning as a sensory and somatic experience: knowledge accrued through movement.

• The expressive potential of the whole body, not merely face, hands, etc.

• Importance of simplicity prior to layering, elaboration and complexity.

• An acceptance of concepts such as 'the truth', 'the real' and 'the artificial'.

RUDOLF LABAN

Laban’s Eight Efforts to explore character in the body. They used it as a way to extend an actor’s movement vocabulary and ability to play characters physically. They help an actor both physically and emotionally identify and play characters who are different from themselves. This embodied work helps the actor in understanding internal impulse and in developing an expressive body that can make clean, precise choices. It also helps the actor create and maintain a strong physical instrument that will serve them throughout their training and future professional work.

Direction is either direct or indirect. Weight is either heavy or light.

Speed is either quick or sustained. Flow is either bound or free.

Direct movement involves a channeled, singularly focused awareness of the environment.

Indirect movement involves a flexible but all encompassing attention to the environment.

Light movement can be described as delicate and overcomes the sensation of body weight.

Heavy movement is forceful and uses the sensation of body weight to make an impact.

Sustained movement is prolonging, lingering or decelerating.

Quick movement contains a sense of urgency and rapidity.

Start thinking about ....Does this character move with a flicking movement? What weight does this character have? Am I bound or free?

There are many different ways an actor can begin to employ these efforts into their work.

Observational work:

The actor can take time observing individuals and creatures in the world around them with an eye towards identifying the Eight Efforts within the movement and behaviour of the observed subjects. After careful observation and replication of the efforts, the actor can begin to apply what they observed to the creation of a character, borrowing elements of what they observed and rehearsed.

Emotional work:

One can look at the personality of the character and the emotional makeup of the character to look for what kind of Effort to experiment with. We can look at a character’s personality and think of them in terms of the Efforts.

On the TV show South Park, the character of Cartman is pushy and aggressive with his friends. He tends to try to dominate any situation he is in and is quick to anger. You could think of his personality as a Punch.

Eeyore from Winnie-the-Pooh is light and indirect in his personality and the way he interacts with the world. Argue whether he could be described as a Float/Glide or Press/ Slash

What would Cookie Monster, Gonzo, Elmo or Animal from Sesame Street be like as an effort?