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Notes for acting

Shakespeares advise to actors


Speak the lines of the author as written, distinctly and fluently, with an understanding of their meaning Do not use elaborate and artificial gestures. Keep energy in reserve in order to build to an emotional climax smoothly and effectively Do not resort to farfetched action or noise simply to please unintelligent and unappreciative onlookers.

Approaches to acting

We have two ma or approaches to acting. !irst is emotional or subjective acting. Actors play their part by emphasi"ing more on the emotion the character is at that time such as, weeping, suffer, or struggle emotionally in front of the audience. As nearly as they can, they become the parts they play and experience all that their characters experience. #he second one is technical or objective acting. #he performance is mainly based on acting techni$ues. %n approach, an actor analy"es the play&s structure and personalities of the characters. #he actor then uses the learned skills of acting movement, speech and interpretation to create the role. 'motional response is not to be allowed to interfere with the creation of the role.

Acting #echni$ues
(ne techni$ue used for portraying emotions is called substitution. An actor may have to play as a parent that has had their child killed, however they have never experience that in real life, therefore they can substitute in a similar emotion by thinking of something that was tragic in their life in order to get that sad feeling, for example) their pet died, or relative etc. Another useful techni$ue is improvisation which is the impromptu portrayal of a character without preparation or rehearsal.

*ody +anguage

*ody language allows actors to communicate for more than the words of a script alone can convey.

,ommon (nstage -ovements

%n general, actors usually move in gently curving patterns that resemble an S shape unless the movement is agitated or urgent.

.itches
Low Pitch / ,haracter is self/assured, dominating, authoritative and overbearing. High Pitch / ,haracter is lacking in confidence and tends to be fearful, intimidated, seeking or confused.

Accent and Dialects


#he best thing to do when preparing for a role that re$uires an accent or dialect is to listen to someone who has that accent and practice it a lot. Another idea that is even better is to find someone with an accent you are looking for and ask them for advise on how to sound that way, a little weird but it works.

Adapting to the Arena


'verything an actor does must be done in an awareness of physical dimensions of the stage itself. #he position an actor in relation to the audience profoundly affects his or her speech, movement, exits, entrances and even lighting.

,haracteri"ation
,haracteri"ation is the substance of acting. #herefore it is your responsibility as an actor to increase your knowledge of the lives and emotions of real people in order to understand how they respond and behave. !or you as an actor, the creative process of characterization should occur in two stages. !irst you attempt to grasp the fundamental personality of a part. #hen, you pro ect that personality to the audience in such a way that your character becomes a living, convincing human being. Successful pro ection of character depends on the skillful use of techni$ues. %t also depends on insights into a character&s behavior and the ability to express those insights in interoperating the character. #he successful blending of techni$ue and interpretation comes only with continued analysis of character and script and with the rehearsing and portrayal of varied roles. #he creative process of characteri"ation should occur in two stages. !irst, you attempt to grasp the fundamental personality of a part. #hen, you pro ect that personality to the audience in such a way that you character becomes a living, convincing human being.

Sixteen Keys to ,haracteri"ation


%nternali"ing, 'xternali"ing, ,oncentrating, (bserving, 'motional -emory, .ro ecting, -otivating, Stretching a ,haracter, #he ,onsisting %nconsistency, .laying the ,onditions, .laying the (bstacles, .laying the (b ect, 'nergy, !ocus and 0ni$ueness.

1!ighting2 Special Stage #echni$ues


Preparation / 0sually an action opposite to the direction of the blow, such as the drawing back of the fist. Blow / #he execution of the blow, ab or pull. eaction / A combination of sound, physical response and free"e.

Acting 3ocabulary

!d"lib# #o improvise stage business or conversation !t rise# Who and what are onstage when the curtains open Bit part# An acting role with very few lines Building a scene# using dramatic devises, such as increased tempo, volume, and emphasis, to bring a scene to a climax. Business# Any specific action 4other than changing location5 performed on the stage, such as picking up a book or turing on a television set. $# #he symbol used to identify the center of the stage $ounter cross# a movement in a direction opposite to a cross to balance the stage picture $over# to obstruct the view of the audience6 use of ad/lib to cover an unexpected, unwanted event during a performance $ross) the movement by an actor from one location onstage to another $ue# the last words, action, or technical effect that immediately precedes any line or business6 a stage signal. $urtain# the curtain or drapery that shuts off the stage from the audience6 when written all capital letters in a script6 it indicates that the curtain is to be closed.

$ut# to stop action6 to omit %own&downstage# the part of the stage towards the audience %ressing the stage# as a technical term, placing furnishing, pictures and similar items to complete the balance a set6 keeping the set picture balanced ruing the action. 'nter# to move onto the stage '(it&'(eunt# to leave the stage )eeding# giving lines and actions in such a way that another actor can make point or get a laugh )oil# an acting role that is used for personality comparison, usually with the main character.

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