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Chapter 1 Theatre Outline

Chapter 1 Theatre Outline

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Published by: Dalton Hughes on Aug 09, 2011
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Dalton Hughes Smith – 7 8/20/10 Chapter 1: Acting May Be Hazardous to Your Health!

(From Great Acting Teachers and Their Methods by Richard Brestoff) ➢ Introduction Emotions  Actor puts on a mask of transformation.  Emotion was caused by a stirring up and rebalancing of fluids.  “Emotion” means to stir up; agitate.  Emotion was perceived as a symptom of internal problems. ➢ Fluids  Ancient view of the mind-body emotion connection consisted of 4 vital body fluids, all representing elements, an emotion and humour (illness accompanied by strong passion)  Black Bile- Represents Earth, if present stirs the emotion of sadness and the humour of melancholy.  Yellow Bile- Represents Fire, if present stirs the emotion of anger and the humour of choleric.  Red Blood- Represents Air, if present stirs the emotion of cheerfulness and the humour of sanguine.  Phlegm- Represents Water, if present stirs the emotions of apathy and the humour of phlegmatic.  “the prime essential for stirring the emotions of others is first to feel those emotions oneself.”  It was believed that every emotion has a specific physical manifestation. ➢ Quintilian  A roman teacher of Rhetoric  Rhetoric in Roman times meant more than speaking, but encompassed all the school learning of an adult.  His system was all audience focused.  Also, mirrors were vitally important for forming expressions.  Voice  If one imagines anger, then Quintilian says that the voice will in turn sound fierce, rough and thick.  Pity? Then it will sound tender and mournful. • Therfore a “color” of our voices.  Head  Casting down the head shows humility.  Rigid and unmoved heads shows rudeness.  Face and gesture same direction = acceptance  Face opposite gesture = disapproval  Hand

awful alarm in the eye. nose. . • To bite lips is unbecomings  Also for arms. • Shrugging shoulders is a gesture of meaness. • Anger you turn away from him. neck is stretched. and the look would be pensive or intense. opening and closing of hand. feet. Quintillian made a physical way to express emotion without getting too deep into the actors own feelings. step backwards and an intake of breath  Love • muscles intense. • Chest thrown gracefully back. Other  There are also rules for the neck. because they were expressed in standardized ways.  Fear • Assume the same slack muscles as used in grief but add a startled look to the face. • Voice full of misery and anguish. The feelings were criticized. chin. and a respectful attachment in the eye  Scorn • Muscles are slack and there is a smile in the eye  Jealousy • muscles are intense .  Hate • turn of an eye distinguishes hatred and pity.     Finger curved.  Anger • Tense of muscles.  Joy • “impress” joy into facial muscles. eybrows. however.  Grief • The muscles must fall loose and be unbraced. forehead. and limbs braced boldly. for expressing admiration.  Middle Finger and thumb together with other three fingers open is a good position for stating facts. and shoulders. Body  All bending backwards is offensive. lips. and hold breath “hard”.  Pity • To imitate pity you strain muscles into tensions and the face of sorrow combined with the muscles of joy.  Rocking hands back and forth shows someone who is reserved and timid. throat. expand nostrils. ➢ Aaron Hill  Wrote The Art of Acting: An Essay  He says that there are only ten dramatic passions. brows raised. eyes. bend eye brow. add flashing to the eye. set the teeth. and the muscles are slack.  Wonder • Shown with muscles intense. smiling and eyes sparkling.

ect. because we are sorry. and they even began copying the poses found in paintings. walking and running shows this power. • Human body has three main communicators.  Legs apart • vulgarity. parks.  Motion creates Emotion. prisons.”  Also relaxation is a must to reflect emotions.  Mirror is also very important in imitation. intoxication or fatigue  Legs together • feeblenees or respect  Hands  Also have example tensions and forms to show moods. but it comes to stand for artificial dramatic poses and declamatory speech. and word. Imitation  18th century was the age of the machine. mind and soul.  From faulty instruction. Mackaye. • Head is intellectual center. and machines can imitate anything. . Voice. gesture. strike.  He set out to discover exactly how real people move and speak in every possible emotional circumstance. acts as the representative for his techniques. lost his voice at 23.  Leg  Foot • represents mental activity. and not that we cry.  He observed people in hositals.)  William James. just to discover how people truly acted. and limbs. like a mirror.  This even meant the imitation of other actors. the psychologist. angry because we strike.  Man communicates this in 3 ways. torso. or tremble. ➢ Delsarte's Example Techniques  Delsarte's friend. afraid because we tremble.  Delsarte never published anything about his system. as in tapping  Lower leg • moral center.  He concluded that you cannot show more than you are capable of experiencing. Head. so humans are simply extrordinary machines. (Exterior expressions correspond to and can cause interior emotions. elaborated on Delsarte's findings by presenting that “we feel sorry because we cry. angry or fearful as the case may be. These are life. and limbs physical center. torso moral center. ➢ Francois Delsarte  Realized that standardized gestures didn't correspond to what he saw in daily life. as in kneeling to show love and reverence  Upper leg • physical center.  The formula is the trinity of the humans.

.➢ Conclusion  most actors were copying teachers  Learn before the mirror for the full effect  The actor must feel what he acts  All great acting teachers has given their greatest attention to emotions and how to portray them.

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