MOVEMENT actor’s studio I

MOVEMENT TYPES OF STAGES STAGE DIRECTIONS BODY POSITIONS PRINCIPLES OF MOVEMENT BLOCKING STAGE COMPOSITION CHARACTER MOVEMENT

TYPES OF STAGES PROSCENIUM THRUST ARENA

PROSCENIUM

Proscenium Stage PROSCENIUM ARCH AUDIENCE APRON

THRUST

THRUST STAGE

ARENA “theatre in the round” flexible seating

ARENA STAGE

STAGE DIRECTIONS proscenium & thrust stage only Strongest area

STAGE DIRECTIONS arena staging only #2 #2 North/12:00 West 9:00 #1 East 3:00 center South/6:00 #2 #2

BODY POSITIONS FF-important lines ¼ - most dialogue scenes Profile: intense scenes such as quarreling, accusing, romancing, etc. used to obtain comic effects FB – used in special occasions

Identify the body positions… The Prime of Miss Jean Brodie

PRINCIPLES OF MOVEMENT 1. All movement MUST be motivated or justified.   NO shuffling your feet, fidgeting, or nervously moving. An actor should never move without a purpose. 2. All movement must be simplified.   Use carefully chosen movement that clearly conveys your ideas. 3.All movement must be heightened.    Due to the distance between the actor & audience some exaggeration or heightening is necessary.  Ex: drawing special attention to an object . For example, the hiding of a letter in Act I that must later be found in act III

PRINCIPLES OF MOVEMENT 4. Movement must reveal character. A character’s personality, attitude, health & age SHOWS movement Fat person vs. thin person; easy-going person vs. nervous person;   Youth’s actions vs. older people.   Always move in character! 5. Movement must be “open” to the audience   Always play toward the “house.”   Use a one quarter body position Make turns toward the audience Use you upstage hand so you can “open” your face to the audience. 

PRINCIPLES OF MOVEMENT 6. Movement must adjust to the characters on stage. Keep in mind your relationship to the other characters. People who dislike each other generally keep at a distance Those fond of each other will feel the need of closeness

BLOCKING The precise movement and positioning of an actor on a stage BLOCKING NOTATIONS EN – enter (to come in) EX – exit (to leave) X – to cross (or move from 1 stage area to another) CX – counter cross (move away) A – above (upstage of object) B – below (downstage of object) O – open up or “cheat out” (turn body, face to audience)

BLOCKING NOTATIONS 1. DR 1/4L 2. X UC-FF 3. X UR-1/4L 4. X C-PRL 5. X DL-3/4R 6. X UL-FF

RULES WHEN BLOCKING 1. Avoid “flat” blocking. 2. Use triangles. Use angles & diagonals; looks more dynamic 2. Use triangles. Creates goods composition instantly with actors and in relation to set choices 3. Make crosses downstage from furniture and actors Scenes behind furniture feels distant & unrealistic 4. Block shared scenes on the same plane Otherwise you will be upstaging

RULES WHEN BLOCKING 5. Avoid “over blocking” Constant moment doesn’t carry much meaning you just look busy and it doesn’t show character Show the meaning behind the line and show that ALL MOVT. MUST BE MOTIVATED 6. Create build with blocking. Work to show the build in the scene, don’t start out in other’s faces in a stand off

BLOCKING RHEARSALS 1. Work through the practical blocking entrances, exits answer phone, turn light on/off Playwright’s notes Don’t follow what’s written look to dialogue – add your own!

BLOCKING RHEARSALS 2. Look at the basic blocking patterns Determine the climax and work towards it Ex: love scene (start far apart and then get closer together) = physically shows the build *climax* of the scene Use the character’s objective, obstacle & tactic to help you make blocking choices As the beat changes, logically this could be a good be time to move as well. (transition in thought)

FURNITURE PLACEMENT Angle furniture pieces Straight lines look flat Limit pieces to go against a wall limits blocking Action’s played in front Looks flat Wait Until Dark Keep distance between furniture pieces Need room for movement patterns between pieces

The Mousetrap

Fox On The Fairway

FLOOR PLAN X Straight cross Curved cross shortest, most direct route Strength, decisiveness & determination Curved cross indecision, casualness, grace, or ease A bird’s eye view of the set, drawn to scale, showing placement of set pieces & furniture X Front door Bath room Desk Windows

STAGE COMPOSTION BALANCE LEVELS Create balance; counter crossing Generally, standing in straight lines is a no-no A Little Night Music LEVELS sit, kneel, stand, lie down Show power; social status Laughter On The 23rd Floor

STAGE COMPOSITION DEPTH FOCUS Use of triangles Groupings The Diary of Anne Frank STAGE COMPOSITION DEPTH Use of triangles Groupings Different planes How To Succeed In Business FOCUS Direct audience’s attention Composition http://youtu.be/EbGOdGUsslQ

CHARACTER MOVEMENT When an actor adds DETAILED, physical action, which furthers the character’s believability and realism Mannerisms Stage Business Gestures

CHARACTER MOVEMENT MANNERISMS STAGE BUSINNESS GUESTURES Habits of the character without a prop Ex: bouncing leg, twirling hair, cracking knuckles STAGE BUSINNESS Habits of the character with a prop Ex: smoking, tapping a pencil, popping chewing gum GUESTURES using hand, arm, body, head or face movements to express thought or emotion Ex: wave good bye or come here; frown, stick out tongue

Identify the gesture, mannerism or stage business…

CHARACTER MOVEMENT WEIGHT TIME SPACE POSTURE How light or heavy the character is on their feet; not the physical weight of the character TIME The speed in which the character moves SPACE The amount of space the character occupies or takes up POSTURE The body position of the character as they move

MOVEMENT REMINDERS (all but arena) AWAYS….. Give and take Use the upstage part of your body Keep the picture balanced unless told otherwise Stay open to audience Use motivated movement Move on your own lines Use detailed movement to show characterization NEVER…. Upstage another actor (force dstg actor to turn upstg to talk to you) Cover another actor (stand in front of) Pull focus! Stand in straight lines, unless told to do so Break character