theatre play response

ACTING

The essence of acting is the “communication of character”.  What makes a character real is not just what the character says, but how the character says it. The communication of the nonverbal and the complexity of human emotions makes a character three-dimensional.  A two-dimensional character is often referred to as a “stock character”. A stock character is a character who has only face value, a stereotype, with no depth. Many of the sitcom characters that we watch on TV are stock characters. They have no real depth of character and are not complex in their lives or feelings. This allows us to easily watch and enjoy these characters without taking the show seriously. We do not become attached to the characters as we do when view a serious drama. These two characters are anything but two-dimensional.

Mirror, 2016

The “physicalization” of character is apparent through posture, center of gravity/emphasis and outward appearance.  It is important to understand that you may not consciously dissect the acting to this degree while you watch a play or film. However, you do take in all this information on a subconscious level.  What you are doing now is bringing out to the conscious level so you can study and become more aware of what makes this character three- dimensional.

Actors use their bodies and voice in the stage space to communicate the emotions and personality of the characters. This is a complex combination of skills, mind, body, discipline, and control. Basic forms of non-verbal communication are essential skills for the actor. Consider the following simple examples of nonverbal communication:

· Standing with equally distributing weight on both feet shows more confidence.

· Holding your posture in a straight, shoulders back and head up shows confidence.

· Taking up more space with one’s body and gestures shows confidence.

· Leaning forward shows an air of dominance and engagement.

· Eyes wide open can indicate fear and nervousness as opposed to eyes focused on a point and unyielding.

· Hands on hips with weight equally distributed on both feet shows power.

See  8 Forms of Nonverbal Communication Actors Must Master

Blocking

This is the planned and developed space relationships and movement developed by the director and the actors called “blocking”. This is usually a collaborative process derived from creativity and logistical aspects in rehearsal. The use of the stage stage demonstrates the meaning of the scene. How character moves or is positioned on the stage can give a overall visual picture and clues to who the character is in the plot.

· If a character is positioned on a platform standing above the other characters, the character has authority over the other characters.

· When characters are positioned closer together, it displays greater intensity about their relationship.

· The physical distance between characters is indicative of the intimacy of their relationship.

· Characters use of space is indicative of the character's personality and confidence. 

Moving to or from different quadrants of the stage can illustrate power or weakness within the action of the play.

· Movement toward the audience expresses power.

· Movement away from the audience expresses weakness.

· Moving towards the center of the stage expresses more power.

Additional Terms

The following are terms you need to make note of:

Promptbook -  Script of a play indicating performers' movements, light cues, sound cues, etc.

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Stage Manager - theatre position primarily responsible for organizing all aspects of rehearsals, actors, performances and crews including assisting the director, calling cues and giving notes during run of the play. 

Biomechanics -  A program of physical exercises and full control of body used by actors to gain discipline and awareness.