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Communication is obviously what acting is all about. Having sharpened physical and vocal techniques into good working order, the actor needs to practise using the whole range of what he has at his disposal: body, face, especially eyes, and voice.
Communication is obviously what acting is all about. Having sharpened physical and vocal techniques into good working order, the actor needs to practise using the whole range of what he has at his disposal: body, face, especially eyes, and voice.
We are capable of communicating subtleties of meaning through the simplest and smallest of gestures, through tiny nuances of intonation. Over and above this, we are capable of communicating an enormous amount through the eyes alone.
We are capable of communicating subtleties of meaning through the simplest and smallest of gestures, through tiny nuances of intonation. Over and above this, we are capable of communicating an enormous amount through the eyes alone.
Stanislavski believed that the concentrated atmosphere generated by a group of actors working closely together creates its own electricity, its own intensity, and that the audience will feel this concentration like a humming aura over the players on the stage and be sucked into the action that way.
Stanislavski believed that the concentrated atmosphere generated by a group of actors working closely together creates its own electricity, its own intensity, and that the audience will feel this concentration like a humming aura over the players on the stage and be sucked into the action that way.
Exercises that train communication:
- Improvise an argument with a partner. Continue to do so with the use of your arms, without any body language at all, without your voice – do it with expression only.
- Tell a story about a recent event to your partner. They should tell it back like it was: hilariously funny, amusing, something that make you anxious, with total sarcasm, something you disliked, irritation, love.
- With your back to the audience, mime playing the piano in the following states: anger, love, irritation, frustration, pity, anxiety. The audience should only see your back to express these feelings
JOURNAL QUESTIONS:
JOURNAL QUESTIONS:
How could these exercises help the training of communication?
How could these exercises help the training of communication?
What effect did they have on you? Give examples.
What effect did they have on you? Give examples.
How have these exercises demonstrated that communication is important when performing?
How have these exercises demonstrated that communication is important when performing?
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