Acting: The first six lessons
The article provides elaborate discussion on factors influencing art activities among actors. The paper discusses six lessons given by Boleslavsky. The article explains what student actors and their trainers should focus on and implement in perfecting their acting operations. Various factors that act as challenges to artwork has been discussed providing possible views on how acting should be perceived. Finally document provides recommendations based on teachings provided.
Thesis: stimulating concentrations, the memory of emotion, dramatic action, characterization, observation, as well as rhythm are some of the challenges facing actors.
Acting students, professional and theater analysts encounter challenges while teaching practitioners on how to handle theater presentations through acting. There are several acting techniques that should be incorporated in acting to facilitate the teaching of students on how to perform. Students should implement various principles in acting such understanding skills that implement physical acting, involving their mind by doing mental actions. Actors should also be equipped with principles that ensure them posse’s ability to utilize their mind and body in interacting with other actors. Actors should also have the ability to follow tempo and rhythm and tune of acting while performing. Verbal actions such as tonal variations and synchronizing nonverbal cues with an altitude of play remain a challenging training operation among actors. Therefore, without stimulating concentrations, developing a memory of emotions, showing dramatic actions, characterization, observation, as well as maintaining rhythm makes a play lack interest among listening audiences.
According to Grotowski and Boleslavsky acting is more that developing tricks, it is far much to be a methodology or technique. Acting can, therefore, be considered as a process of combining a series of related creative processes related to surroundings. The first session dealing with stimulation of concentration usually depends on the type of attires used in the presentation and opening formulae. Students should know how to prepare and how to dress to develop an impressive attention and draw audiences to concentrate on what they are ready to offer (Anthony, 2009, 20-25). Usually, actors, learners, and students must familiarize with their presentation attires by performing warm up exercises before actual presentation in a theater.
Developing Memory Emotions
In developing a memory of emotions, Boleslavsky guided theater practitioners and actor trainers to ensure that student aspiring to be actors have the ability to create a virtual life on a stage that can make audiences feel they are i0n real world encounter rather than a pretending contest. There should be the emotional driving force that should make audiences move from real world to world of figurative imagination by creating a true picture in their minds. According to Lee Strasberg (1901-1982), theater performance training should equip students with skills to develop and create realism. Performers should enforce development of truth and make plays emotional such that they can be taken as genuine and can be believed.
Showing Dramatic Actions
According to Stella Adler, dramatic actions could be developed if actors should be taught how to implement imaginations while performing. One secret of developing physical actions is avoiding thinking what to say or do. The reactions originate from natural reactions and responds to particular instances wi0thin play accordingly. Actors have a high potential of developing physical and vocal actions when they allow theme and main lines of play sink in their mind freely without forcing through cramming (Anthony, 2009, 28-30).
Physical characterization involves mimicking particular behavior or condition. It involves masking original appearance traits by incorporating most intimate and spicy details. Students should have the potential to inhabit different character traits freely and develop the potential to exaggerate various operations in social life. Some character traits. Apart from costumes, makeup, and drops other natural professional and social traits help in building and developing physical characters in play. Examples of such characters associated with religious believe, drunkards, doctors, legal, officers and such characters (White, & Andrew, 2006, 80-82). Practitioners participating in professional actions, mimicking such characters may not be enough. Learning introduction as well as understanding their behavior through benchmarking, training, and doing workshop would reveal better performance.
Observations are a process of ensuring that there is total coordination of activities and flow of events during play. According to Boleslavsky, every actor must create a continuous flow of events through ensuring that the play reveals unbroken scenes throughout presentation session. The logical flow must show main goals of working out the play (Stanislavski, & Konstantin 2008). Students should have the ability to develop action and reaction principles of play. Equal and opposite or action and reaction must be developed in a play by actors. Participants in a play must observe such operations facilitate development of synergy in play. Play sections involving situations such as revenge there must existence prior conflicts (Anthony, 2009, 33-38). Marriages must be developed from love whose signs may involve actions and reactions such as pregnancy and children.
Movement of actors creates rhythm. The function of rhythm is to entertain, remove boredom as well as ensuring that brilliant skills are implemented within the play. Art students should know how to maintain rhythm so as to facilitate proper communication of main themes and main ideas of the play. Play should be systematic to drive actual meaning of a particular action. Some actions require being performed through repeated activities. Example actions involving criminal acts where shooting is involved, shooting action must proceed in moderation to enable audiences to understand and clearly observe what actions are being implemented (White, & Andrew, 2006, 89-94). Other forms of rhythms are maintained though use of smooth music.
Art students and teachers should embrace six elements and principles that enhance better practical work in the acting profession. Individuals should take acting activities like a subject and field that require expertise knowledge and understanding especially while implementing and taking part in professional sections. Plays should support moral values within society and discourage in human actions within society.
Major areas in ensuring that plays have been perfected include stimulating concentrations, developing a memory of emotions, showing dramatic actions, characterization, observation, as well as maintaining rhythm. Passion and self-drive in acting is a vital role in succeeding as the best performer. Real actions are sometimes required so as to create an actual picture. Significant play should reveal reality such as crying, smoking, and drinking among other practical activities. However, actor’s behavior may change due to the influence of acting. Addiction may affect actors as a result of trying to reveal reality. Moral decay within society may also result due to negative influences and immoral acts during the performance.
Anthony Lewis Johnson. “Training Young Actor: a Physical; approach” Journal Thesis (December, 2009) : 10-40
Stanislavski,& Konstantin. An Actor’s Work.Translated by Jean Benedetti. London: Routledge, 2008
White,& R. Andrew. “Stanislavsky and Ramacharaka: The Influence of Yoga and Turn-of-the-Century Occultism on the System.”Theatre Survey47 (May 2006):73-92.