Acting Fundamentals

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- Some characters are very aware of their own proxemics preferences and others have no idea

- Similarly, some characters observe, or know from past experience the proxemics preferences that other characters have lost others have not noticed

Movement in representational drama

As a general rule movement in representational drama needs to be lifelike and imitate the way real people use their bodies in every day situations it need to seem spontaneous and natural whilst being prompt and inspired by internal feelings and thoughts

Movement in realism

Similar to voice within representational drama each historical style has movement conventions that are unique characteristics and typically the body is focus with a sense of being completely calm and centred ready to physically react to internal and external stimuli

Movement in naturalism

Although this historical style similar in many ways to realism and typically also has the same characteristics there are some important additional movement qualities such as movement must always be motivated to get also completely authentic if the character wants to move they should do so likewise if they don’t want to move they the should not

Movement and presentational drama

To make it even more challenging for the contemporary actor, many of these styles are not completely non-realistic but even more of them are drawn from several different types of drama.

Movement in ancient Roman drama

Most movement is directed out to the audience that does need to be able to turn out to the front even while interacting with other roles and characters

Movement in Renaissance drama

It is impossible to have any great emotion or gesture of the body without having the action of the hands. Grace control and sense the fluid energy in need to just to move efficiently

Movement in expressionism

It is often stylised but should always be in tech integrally linked to the role of characters in the life even if it’s not realistic by nature

Movement in epic theatre

To use a mixture of natural life like movement with heightened stylise movement

Movement in musical theatre

Movement can be stylised and exaggerated specially during songs and even when not dancing

Movement in contemporary presentational drama

Mastering the eight movement techniques it’s vital for an actor as each contemporary play for focus more or less on some techniques rather than others

Image a: this gesture could indicate a character that is cross or bitter towards another character that they have relations with. The impact of this gesture could help to emphasise how a character feeling about a situation in the text.

Image b: the gesture being portrayed in this image could be a character way of communicating through hand movement. This is normally used when explaining or telling a story to exaggerate a situation.

Image c: in this image the gesture is almost a shrug and indicates a character responding to something or it could also be away of showing sympathy.

Scene 1: shows the large distance between the characters, telling the audience that the two characters aren’t close and situation is that they a having a broad convocation.

Scene 2: there is a lot of dramatic tension in this scene because of the dialogue and the different levels of the two characters showing superiority. It seems that the characters could be co-workers or the male character standing up could be the other males boss

Scene 3: it is revealed through the space between the two characters that they have a close relationship.

Moving with purpose

Moving a different paces gives extra knowledge about your character and the situation to the audience. Walking faster indicates that you’re in a rush or your character has a lot of energy where as slow pacing can’t tell the audience that your nervous, stressed or thinking.

Week 3

Eight basic efforts

after extensive exploration with the four effort factors von Laban found that performers could use them in specific combinations to help them gain access to have the consistency in delivering a roll.

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Directing processes

there are two broad processes directors of drama undertake:

- Conceptualising

- Realising the concept

Conceptualising

In order for a Dramatic work to be successful the needs to be a purpose for doing it. The purpose behind the dramatic production could be one of many things the director and the producing theatre company might want to teach the audience something or to entertain them in some way.

The second part of Conceptualising is coming up with what the main message is (or messages are) of a production and how the message(s) is likely to take to dramatic shape in the performance.

The final and third part of Conceptualising is dreaming up a big picture view of the production. The big picture dream incorporates how the purpose might creatively be achieved and the ways the message might be communicated through the design components and acting.

Realising the concept

There are two major parts to realising the directorial vision:

- formulating and to delivering the creative vision

- rehearsals

creative vision

after Conceptualising their directorial vision for dramatic production, the director will begin work with members of the creative team; the scenographer, lighting designer, sound designer, costume designer and if they’re lucky enough to have one the dramaturg. The director will

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