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11/11/2016
In todays lesson we started our unit on approachs to
acting we began working on physical theatre. Examples of
which are like cirque soulet. This is a form of theatre
where verbal language is minimal if not non-existent and
communication is through the body.
Pracs carried out today include;
On off balance work (up on toes and heels whilst
leaning forwards and backwards)
Circle Pushing body (balance and Trust)
Stick work evolving push and pull
Circle; this practical exercise deepened my understanding
of teamwork and focus. Whilst observer the exercise I
came to realize that the force pushed against the person
in the middle increased the pace, which meant more
focus, was need to keep it consistent.
Push and Pull; this practical exercise working with Brittany
was difficult as we were both significantly different
heights. But, as the rehearsal process moved forward we
turned this to our advantage and used the concept of
power play coexist with playfulness to enhance the
performance.
Homework
69-80 The moving body
14/11/16
Today in class were further developed our understanding
of the push and pull and the off balance exercises from
Fridays Lesson. This time we further developed these
exercises buy introducing charging the space. This
involved observing how our bodies impact in a scene when
they enter a neutral space. Observing each class
One
/ Two
Efficiency
You need all your physical resources at your
command when you are performing in a production in
Meyerhold style and needless gestures or
overelaborate actions simply use up those resources
unnecessarily.
Rhythm
Rhythm is the glue, which binds all the other skills to
the actor together.
A rhythm made up of three parts. He then gave each
part a name: Otkaz, or preparation; Posil, or action;
and tochka, or end point
These are the building blocks to biomechanical
theatre.
Expressiveness
Meyerholds mode of expression was exaggerated,
elongated and stylized.
Without the us of words
The actor in Meyerholds troupe had to be physically
fit, agile and flexible, just as the actors of commedia
dellarte were in a previous era.
When a biomechanical actor walks on the stage there
is always some kind of reaction for his fellow
performers. Eg Charlie Chaplin
Responsiveness
As an actor, you need to be permanently switched
on, or responsive, too what is happening before you.
All stage actors, by definition, must be able to
respond to the unpredictabilitys of the live event.
By definition, must be able to respond to the
unpredictabilitys of the live event.
Playfulness and Discipline
Balance with one another
He was an exacting taskmaster who had a precise
vision of what he wanted to see on stage.
This atmosphere of control would be punctuated but
moments of frolicsome play