Transcript AS AN ACTOR*. WHAT CAN I TALK ABOUT?

AS AN ACTOR….
WHAT CAN I TALK ABOUT?
• Characterisation
• Acting techniques
• Use of voice and
movement
• Stage proxemics
• The relationship between
the spoken text and
physical movement or
gesture
• Interaction between
characters
• Actor/ audience
relationship
• Acting style
• Use of costume/makeup/set/props
VOICE & MOVEMENT
Articulation
Fluency
Intonation
Register
Clarity
Pause
Pitch
Accent
Pace
Timing
Tone
Volume
Emphasis
Stance
Balance
Body Language
Gesture
Facial Expression
Mime
Posture
Pace
Timing
Slow Motion
Blocking
Masking
Use of levels
Use of space
Rhythm
ACTING STYLE
ACTING TECHNIQUES
THERE ARE ONLY TWO TO
CHOOSE FROM…
(MORE SPECIFIC THAN JUST VOICE
AND MOVEMENT)
NATURALISTIC
OR
STYLISED
PRACTITIONERS (IE.
STANISLAVSKI SYSTEM,
MEYERHOLD, BRECHT,
GROTOWSKI…)
METHOD ACTING
SYMBOLISM
CHARACTERISATION
MANNERISMS
BEHAVIOUR
HABITS
GESTURES
ACTOR/AUDIENCE
RELATIONSHIP
Aware of audience or not.
Impact – emotion – dramatic
effect – thought provoking
SPOKEN TEXT VS PHYSICAL
MOVEMENT
Consider subtext and how to
convey this physically
INTERACTION BETWEEN
CHARACTERS
EYE CONTACT
DIALOGUE
SUBTEXT
MIRRORING
SUGGESTION
STAGE PROXEMICS
Use of space to
create distance that can represent a
relationship
CHARACTERISATION
the concept of creating characters
There are two ways of conveying information about a character:
Direct or explicit;
The writer literally tells the audience/actor what a character is like.
This may be done via the narrator, another character or by the
character him or herself. You may therefore, as an actor, make
use of textual references.
Indirect or implicit;
The actor must infer for themselves what the character is like
through the character’s thoughts, actions, speech (choice of
words, way of talking), looks and interaction with other characters,
including other characters’ reactions to that particular person. This
is the process of character development.
ACTOR/AUDIENCE RELATIONSHIP
Presentational acting:
Refers to a relationship that acknowledges the audience.
Can be direct such as addressing them in a monologue or aside.
Can also be indirect such as general attitude or use of
language/looks/gestures. Either way, it indicates that the character or
actor is aware of the audience's presence.
Representational acting:
Refers to a relationship in which the audience is studiously ignored.
Actors remain in-character and absorbed in the dramatic action
whilst the audience simply look on and ‘spy’.
The actor behaves as if a fourth wall was present, which maintains a
divide of dramatic fiction from reality.
ACTING STYLE
NATURALISTIC
Or realistic; drama which replicates real life.
See Stanislavski System – a system for encouraging actors to become
emotionally and psychologically involved with their roles, in order to create a
convincing, realistic performance.
Some characteristics are; characters who act and talk like real people, settings
that are real and from modern times like homes, workplaces, bars and
restaurants, and the subject matter deals with real events and social/political
issues.
NON - NATURALISTIC
Or stylised; distinctly removed from truth, describing and portraying something
that isn't necessarily there.
Some characteristics could be playing with space, time or object.
Non-realistic acting means that the actor in no way acts as he would do in real
life. See Antonin Artaud for inspiration.
ACTING TECHNIQUES
STANISLAVSKI SYSTEM; Aims to replicate real life, encouraging you to be ‘in the
moment’ but always staying one step away from complete belief. Draws on personal
emotion to portray character realistically.
Here’s a reminder of what we did in class;
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We used ‘Belief’ to care for the ‘bird’
We used ‘The Magic If’ to put ourselves in Pru’s shoes with the Corbies
We practiced ‘cooking’ with or without ‘The Given Circumstances’
MEYERHOLD; mixing psychological response with gestures and movement to express
emotion. Physical movements should elicit emotion in you rather than the other way
round.
Here’s a reminder of what we did in class;
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We choreographed a fight scene and evaluated the ‘action’.
We then improvised a fight scene on the spot and evaluated the natural ‘reactions’
Consider a moment where you might be spontaneous in your character and describe
how you might do this.
BRECHTIAN TECHNIQUES
The Actor:
Brecht required his actors to
demonstrate what happened,
what words were said, and
demonstrate the actions of the
character. They must not try and
become any of the characters
they portray. The actor or the
audience should not identify with
the character.
Narration:
Parts of the play are narrated
rather than acting them. Most of
Brecht's plays made use of a
screen or large notices which gave
the audience information about
the play, introduced scenes or
commented on the action,
hammering home the message of
the play. Where video projection is
not available placards are used.
Actors come on to stage carrying
placards that announce the time
and place of the action or any
other information. These signs
keep the audience removed from
the action.
Use of Song:
Characters frequently and suddenly burst into song
or formal commentary. They sing a song that is
nothing to do with the emotion of action and
everything to do with the intellectual message .
Characters often become grotesque and unreal,
performing in a dehumanised robotic manner.
The songs broke the mood of the scene to remind
the audience that they were watching a play that
had a message. Sometimes the actors actually
stepped out of character and sang songs directly to
the audience.
Voice:
Brecht made enormous vocal
demands on his actors: they were
required to sing, chant, use
mechanical and strange sounding
voices, produce disconnected
and non-human sounds and
speak in a range of dialects and
class accents. These techniques
are used to produce alienation.
Gesture:
Brecht was influenced by Japanese and
Chinese Theatre. He admired the way they
used movement to tell a story in a stylised
unemotional way. He encouraged his
actors to learn the formal gestures of
Chinese Theatre where a gesture that
shows the character is crying is moving the
finger up and down in front of the eyes.
Brecht did not want his actors to actually
weep tears.
Different endings:
Actors retell the story of the play with several
different endings. If the audience is shown a tragic
ending, a happy ending and maybe even an absurd
ending then the point that different outcomes are
possible is made. The ending does not have to be
inevitable and there is a possibility for social
change.
BRECHTIAN TECHNIQUES
The Actor:
- PRUDENCIA’S INABILITY TO BE HERSELF
- SWAPPING IN AND OUT OF ROLES AS ENSEMBLE (CORBIES)
Voice: LINKS TO PRU - ALIENATION!!!
Gesture: LINKS TO
- ENSEMBLE
- CORBIES, LACK OF EMPATHY TOWARDS PRUDENCIA?
Narration: LINKS TO THE WHOLE PLAY!
Use of Song: LINKS TO;
- COLIN FORCING MODERN MUSIC ON PRU, WHO PREFERS TRADITION.
- BREAKING TENSE MOMENTS – FOR EXAMPLE…
- HIGHLIGHTING THEME (TRADITION VS MODERN)
Different endings: LINKS TO FINAL SCENE;
- WHAT DOES IT MEAN?
- STYLISED AND OPEN TO INTERPRETATION
- EXPERIMENT WITH A VARIETY OF ENDINGS TO FIND THE TRUE MEANING – FOR YOU
ACTING TECHNIQUES
Try doing some research on these styles and see if you can apply them to your own work as an actor
STRASBERG; Researching every aspect of your character, especially your backstory and
personal life before the narrative of the show begins. You should become so familiar with your
characters' lives, the characters would be just as constant as your own life.
BRECHT; the theory that plays should not cause the audience to react emotionally with
characters but to provoke self-reflection and critical views in the audience member themselves.
MEISNER; To react truthfully rather than by manipulation.
METHOD ACTING; Living day to day as your character. Complete belief in who you are and
what you are doing.
SYMBOLISM; implies a greater meaning than the literal suggestion and is usually used to
represent something other than what it is at face value. Completely stylised.
SPOKEN WORD VS PHYSICAL MOVEMENT
Spoken word is the language used, or the performance of the words
themselves. Consider dynamics, rhythm, repetition, pause, emphasis, slang
or rhyme.
In class we;
Physical movement is non-verbal communication - use of the body to
communicate particular messages. Consider facial expression, gesture,
posture, body language and eye contact.
In class we;
• Improvised a scene where Colin and Pru fell out
• We exaggerated dialogue first then removed the words to focus only on the
physical movement and emotions conveyed
SUBTEXT
Subtext is content underneath the dialogue; it is what
happens when spoken text and physical movement contrast,
where other emotions are implied. Subtext is the unspoken
thoughts and motives of characters - what they really think
and believe.
In class we;
• Acted as Pru and Colin within a variety of different contexts
using only the phrase ‘Hello, how are you’ – ‘I’m fine thank
you very much’ to experimented with the underlying subtext
by considering use of voice and movement to imply
something deeper
REMEMBER TO LINK IT TO THE QUESTION –
IN THIS CASE…
How would the actor use voice or movement to show
strength/weakness? How would the actor interact with
other characters to show strength/weakness? How would
the actor interact with the audience to show
strength/weakness? How would the actor use the space to
show strength/weakness? How would the actor use their
costume to show strength/weakness? How would the actor
use props to show strength/weakness? How would the actor
use make-up to show strength/weakness? How would the
actor use props to show strength/weakness? How would the
actor use the set to show strength/weakness?
NAT 5 VOCAB
STILL APPLIES!
VOICE
Articulation
Fluency
Intonation
Register
Clarity
Pause
Pitch
Accent
Pace
Timing
Tone
Volume
Emphasis
MOVEMENT
Stance
Balance
Body Language
Gesture
Facial Expression
Mime
Posture
Pace
Timing
Slow Motion
Blocking
Masking
CONVENTIONS
alternative ways of presenting all or parts of a presentation
Slow motion
Tableau (C) / Frozen Picture (F)
Freeze Frame –action frozen in time
Soliloquy
Flashback/flash forward
Narration
Voice Over( recorded speech played during a drama)/
Voice in Head (recall words said by others about a character or
situation)
Mime
Monologue
soliloquy
OTHER ACTING TECHNIQUES
Aside- to audience only
Stage whisper
Masks
stereotype
CHARACTERISATION
- the process of developing a character fully
Character
Role Play
-exploring attitudes and beliefs
Thought Tracking
- when prompted the character says their thoughts out loud
Voice in the Head
Writing in Role
Hot Seating
Thought Tunnel
-character walks past other characters.
Those other characters speak their thoughts outloud
usually about the character walking past.
Lighting
Follow Spot
Profile Spot
Fresnel
Flood Light
(gauze)
Barn Doors
Gobo
Gel
Pyrotechnics
Focusing (the lights)
Black out
Slow fade
Cross fade
Snap-to
Sound
Sound cue
Cross fade
Recorded voice over
Set
Back cloth
Cyclorama
Gauze
Flies
Door Flats
Window Flats
Flats
Scenery
Trapdoor
Rostra
Treads
Truck
Wings
Backstage
Staging
Venue
Thrust
Theatre in the round
End on
Proscenium Arch
Avenue
Auditorium
Revolving Stage
Ground plan
Key
Rake
Enter/exit
Audience
Sight lines
Stage Directions
Stalls, balcony, dress circle
Props
objects used by actors
Personal Prop
Set prop
Costume
Period Costume
Write in super detail for full
marks
Make Up
liners
Wax/nose putty
Crepe hair
Fake blood
Latex
Spirit gum
Makeup pallets
Stipple sponge
Scarring
Skull cap
Tooth varnish
HIGHER WORDS TO USE TO SOUND COOLER THAN YOU REALLY ARE
C
A
Central Character
Complex Character
Important Character
Minor Character
Main Character
Pivotal Character
Characterisation
Character Behaviour
Character Motivation
Character Development
Character Interaction
Relationships between Character
Acting Style
Actor/Audience
Relationship
G
Given Circumstances
Ground Plans
K
Key Scene
Key Moment
M
Message
Mood
T
Textual Evidence
Traditional Theatre
Target Audience
Tension
Textual Analysis
Theatrical Background
Themes and Issues
Time period
Passage of Time
Shifts in Time
S
Set
Setting
Site Specific Theatre
Special Effects
Textual Evidence
Traditional Theatre
Special Effects
Stage Imagery
Status
Stimulus
Subtext
Symbols and Imagery
U
Use of
levels