Pixie Dobbs
220135729
THEA307 The Actors Craft
Reflective Essay
As a dramatist, lover of the stage and all things theatrical, I have learned to appreciate that simple definitive moment when one’s dancing mind is able to still itself, finally melding with the body in a cohesive and satisfying performance on stage.
Throughout the seven-day intensive, I was able sharpen my stage artistry by challenging any perceived capabilities I may have had of myself as an actor. By delving further into the character’s inner life, analyzing motivations and unlocking their inner actions and psychological gesture, I felt Impelled to understand my character more intimately. I embarked upon a new relationship and fell in love with the
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stage all over again. Our main objective focused on honing our craft as actors, after having studied a variety of training theories form well-known theatrical methodologists, from the set text Actor training by Alison Hodge touching on the periphery of stagecraft and putting these into play. By unpacking Michael Chekhov’s techniques, his theory of imagination and concentration suggests all artists are required to practice discipline within the world of imagination. In order to reach an understanding of our character, ‘The actor is to become an active participant in the process of imagination,…to bring the world of the imagination to the stage and give it life’ Hodge, (2010, p. 86). We used Chekhov’s psychological gesture as a tool to accomplish the perception of our characters authentic development. Through investigating the inner life of my character by “ Focusing on the character and observing how the character responds to the situation and behaves in that way”. Krasner (2012, p. 180). This ‘is a means of expressing the entire character, condensed through an intuitive grasp of the characters main desire.’ Hodge, (2010, p. 89) I discovered I was able to transform my perspective entirely Through another of Chekhov’s acting exercises that used thin wooden poles to connect actor to actor the intended result, by breaking down any potential emotional barriers to the characters we were playing opposite, in our three sisters scene the stick on our foreheads stomachs and hearts whilst reading our lines to each. After placing the rod over my heart, I immediately burst into tears. When I was able to finally speak. I was able to develop my breath and project further by imagining my character’s inner life with acuity. “If we wish to contact our feelings we need to breathe into them, to dissolve the artificial barrier that has separated body from experience and speech from movement in our increasingly intellectual clutter.’ Hodge, (2010, p. 86). Dawn Langman The art of acting, body soul, spirit word, a practical and spiritual guide temple lodge publishing p51 I became aware that the inner life of Natasha although externally she appears angry and manipulative, she is deeply sad.
This was achieved by intellectually and emotionally tuning into our characters speech. This particular exercise used Rudolf Steiner’s theory of connecting speech to the thoughts, feelings and will of our characters, freeing the breath using “speech as an invisible gesture”pg87At. To truly sense the intension of our character. ‘No single sound is ever formed without it’s reflecting some inner feeling of the soul’ Speech and drama lecture 6 Rudolf Steiner pg 136.
The evolution of the pole exercises grew over the next seven days, broadening our perspectives as actors by deepening our understanding and unity with the other actors we were working with to create a harmonious ensemble. This created a feeling of a heightened sensory awareness. It was not an experience to be intellectualized but merely felt. I was able to put into practice “the idea of expressing the essence of the role in a gesture” 81 diversifying my skills as an actor through embodying the psychological gesture of the character I was playing in the scene from Anton Chekhov’s The Three Sisters. Once these techniques were put into practice I was able to delve into the emotional life of my character “experiencing of another’s being in our own soul pg 37 langman, using the gift of transformation without losing my identity, moulding and layering the idiosyncratic characteristics based upon my characters
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inner objective. Consequently, I became much more attached to playing this character and felt able to deliver an emotionally authentic performance of an outer circumstance, whilst portraying an inner gesture. After these exercises, I became aware of the duality of the two atmospheres that were at play, particularly in realist plays. By sampling and identifying different methods and training styles from multiple theories of stagecraft, I have been able to challenge myself on a daily basis throughout the intensive. Another interesting influential acting practitioner to note is Peter Brook. We touched on many areas of Brooks’ open ended and diverse theatrical styles that rely on spontaneous movement without conscious thought. Connecting the company together relied upon our immediacy or readiness to impulse without thought. Which led to an understanding that inspiration comes from spontaneous play, creating an invisible network’ 174AT of openness and connectedness in a company. We worked through many exercises during the intensive that aimed at bringing the group together as an ensemble. ‘The transparency being alive and present in every molecule of the actors being.’ – 178 Using not just our main senses of observation to tune into the other actors within the group but to gain a connection sharpening our periphery senses, mirroring each others movements, and keeping eye contact but still playing in the space. The effect of these exercises changed the atmosphere from one of tension to an expressive vibrant and powerful unity of actors creating a harmonious ensemble. As with all the exercises we explored more time would be needed to strengthen a connection between the actors. All students were given the task of developing a fable using animal transformation work. As well as Lecoq, Brook used animal transformation work as well as using masks and working with emblematic props such as billowing cloth to be used as a form of storytelling First of all we created images from over emphasising shapes as we were walking around the performance space, gradually becoming more animalistic until we had embodied the shape and physical characteristics of a baby elephant. I moved quickly with playfulness, but a heavy power. There is a curiosity and a naiveté about my character, which became a baby elephant. “The body is free and well balanced and the mind is focused and aware” 49 AC This is significant because losing ones ego is by surrendering to the striving for purpose and depth with ones performance. Removing any inhibitions, delving into spontaneous play by immersing into the organic nature of the creature we were becoming. “All “forms can engender freedom for actors” – 177 AT Animal transformation work is important to the development of the actors’ transformative skills balance and awareness. I would enjoy spending more time establishing the finesse and nuances evolved in the immersion of animal imagery and transformation. Slowing myself down and centring myself in that world. Another area that I found entirely spellbinding was working with the character masks.
I could spend a long time working with the mask and elicit a different result or persona each time. It felt as if the character had come from within the mask and not through some aspect of my imaginative processes. As another great trainer
Jacques Lecoq said‘ to make a mask come to life you have to know it, make friends with’ the mystery of working with the masks. By observing others in their everyday environment and then working with the masks it is possible to create and transform into character of depth and unique qualities that can be drawn out of you.
Although I have highlighted only two actors covered from the set txt I was able to see a flowing connection in training styles skills influences and with many of the methodologies we covered in the fundamentals of actor training.
Over a prolonged period of training (perhaps several years) I may be able be able to embody these theories. Once put into practice these and methods styles opened my mind to the complexities involved in honing the craft of the dramaturge
To take something positive from each of the trainers and forge our own craft carving out the very nature of our being for it to take shape as a polished
actor. Becoming more than just learning a script by heart to learning a character with my heart. References 1. Actor Training Hodge, A 2010, Actor Training 2. Langman Steiner Actors Craft
On the other hand, when I am outside of the classroom, I become this whole different person and start to talk more. I feel that I have gotten use to being quiet in the classroom and conformed to putting on my mask everyday that it is hard for me to not wear the mask in class because if I do not wear it, I feel that I am loosing a part of who I am. All in all, this shows how when we are not seeking approval, we are able to take off our masks and our “self-presentations [becomes] much different in character” (Gergen
In the play “Circle Mirror Transformation” by Annie Baker took place at an acting workshop in small town Vermont. Annie Baker presented the characters to the audiences by them getting to know each other in the almost uncomfortably intimate way. In the play, the characters underwent the emotional growth and the knowledge about each other personal issues. Although theater is only pretending yet the play suggested that it is the best way to get to the truth.
In this area of theatre i have learned more about brainstorming, character position, the effectiveness of music, the effectiveness of light and at what darkness and more about character goals and character formation both physical and vocal.
The play that we read for this unit is Too Much Punch For Judy, by Mark Wheeller. It is a form of Verbatim Theatre, meaning that it is based on the spoken words of real people. This play is about the story of a young woman who kills her sister in an alcohol related accident. When I first read the play I couldn’t empathize with the story as I haven’t experienced such a shocking event before. In this essay I will describe, analyse and evaluate both my work and the work of other actors in my group, focusing on the mediums, elements and explorative strategies of Drama.
...Acting teacher, Sandy Meisner, described a technique of living truthfully under imaginary circumstances. To do so is to apply Burke’s pentad to an aesthetic performance completely.
Masks are a way an individual expresses themselves with various types of people. We are given different occasions and have to act a certain way to do so. Gergen states that the cause of having a mask is “When an individual seeks approval from this diverse range of personalities,he or she adopts a wholly different mask or public identities.” (197) Each person has a different personality when they are with certain people, based on actions and reactions. For instance, when having a guest visiting for the first time, we tend to look our best and choose the best way to make them feel welcome. We tend to hide things that don 't seem “appropriate” and take out things that seem new. We probably don’t notice, but we create a mask based on appearance since we are hiding the reality based on their first
There are any kinds of masks. There is the story; the masks are the masks that tell
The playwright provides many aspects to create a play and to make it interesting. The actions and dialogue the characters make must be fluid and have a purpose. The playwright entices the audience with the different aspects to captivate their attention and keep it throughout the play. In The Illusion, Tony Kushner provides vivid details of the characters’ actions through dialogue. The actions characters perform absorbs the audience’s attention and leaves them wanting to see more of what will happen next to the characters. Although all aspects provided by the playwright are essential, action is the most riveting.
Lazarus, Joan. "On the Verge of Change: New Directions in Secondary Theatre Education." Applied Theatre Research 3.2 (July 2015): 149-161. EBSCOhost, doi:10.1386/atr.3.2.149_1.
I am a big fan of the film Mask, a psychological film starring Cher, Eric Stoltz and Laura Dern. Although, I had watched the film previously, I decided to re-watch it recently for old time’s sake. Additionally, I wanted to know more about the film and so I started looking for information on the internet. I stumbled onto a site that gave an in depth analysis of the film. Although it is a fairly old film, the story will move one to tears. It’s so inspiring and empowering to anyone who is facing any difficulty in life. It makes ones problems to seem so small compared to the character in the movie.
of the use of the mask, gave no illusion that this story is happening before
...without being too open-ended or, as Stanislavski’s Method Acting turned out to be, dangerous. Chekhov’s theories have been integrated into the acting styles of so many distinguished, beloved actors and actresses that it seems reasonable to say that his technique is a healthy, valuable tool that every aspiring young artist should take advantage of in their own practice and performance. His overall goal seems to have been to free the actor, not hinder them. The real challenge is allowing ourselves, as actors, to be free to experiment and learn. In his book, Chekhov said, “Discover the differences between the character and yourself. The similarities will take care of themselves.” If an actor truly believes this, then they will make conscious decisions, resulting in a compelling, unique, and informed performance that is worthy of the character they are portraying.
Superheroes. We’ve grown up with their stories of saving the day, dressed up as them for halloween and wanted to be just like them when we grew up. But something that I’ve always thought was extremely interesting about superheroes are they all wear masks. Whether they are saving the day or just out and about, they are always hiding a major part of who they are by putting on and taking off that mask on a daily basis. But when you think about, don’t we do that too? We constantly put on these masks to make us feel “cool” or to fit in. We are more comfortable putting on these masks rather than be who we truly are. Because if we took these masks off in front of others, just like superheroes, we have the fear of being thought of differently or judged for showing someone who we truly are.
Our latest topic has been Blood Brothers. We spent 6 workshops studying the play written by Willy Russell. Blood Brothers tells the story of the Johnstone twins, Mickey and Eddie, brothers separated at birth who reunite and become friends in their childhood, unaware of their relation to each other or of what the consequences of their friendship will be. The key themes throughout the play are superstition, nature vs. nurture, social classes, dramatic irony, contrast and and stereotyping. In one of the first workshops we focused on Mickey and Eddie initially meeting. We were required to create two freeze frames acting as the boys. I had to consider the boys age and how this would affect how they acted. We then added layers to the scene including a piece of movement and then dialogue. I realised that, as they had grown up in different environments, there would be a contrast between the two boy’s freeze frames. When I was required to portray Eddie, I sat on the floor, reading a book. I showed I was bored by half heartedly turning the pages when I added movement. When playing Mickey I pretend to fly a fighter jet. This was a reference to the time the play was set (early 60s) not long after World War two had ended. This showed Mickey being resourceful as he would have been unlikely to have been able to afford toys.
While standing in front of it I transform myself from the plain, boring nobody who I fear more than anyone else in the world to the outgoing, bubbly, mature creature I wish I really was. For me, putting on my make-up is not the simple task my friends seem to regard it as; it is the carefully perfected art or creating my disguise.It is only when I am wearing this disguise that I feel I am a ‘normal’ person, that I fit in with the rest of our critical society. On the rare occasions when I have not adopted my disguise (only when I am in no danger of meeting any acquaintances) I become like a ‘Magic Eye’ picture; you have to look really hard in order to see the complete image.The reason I am so unwilling to remove my mask in public is that, to be quite honest, I am terrified of what is underneath. As a result of my creating this mask, I have never acquainted myself with my thoughtful, emotional, sensitive character traits which I try so desperately to conceal. I am not sure whether I like that girl very much, and I am too busy trying to hide her to have the time to find out.I have not always been divided like this. When I was younger I somehow managed to let all the aspects of my character show, resulting in a fairly even mix of the side of me which I hate and the side I promote.