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Drama - Research Paper Example

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The basic concept of this style of acting is that any emotional experience has a manifest physical expression. It is also based on the notion…
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Download file to see previous pages The theatrical form requires that even the audience in the last row catch the emotion expressed by the actor without it being rendered awkward due to the element of exaggeration involved. This is the context where physical acting can save the occasion. Also, physical action involves movement that can be weaved into the movement of the plot of the play itself to bring about a kind of doubled impact.
Simon McBurney categorized human behavior into seven levels of tension, namely, coma, relaxed, neutral, alert, suspense, passionate and explosion so that there can be a level of standardisation on how the actor can express emotions in the form of physical actions on stage. Stanislavski on the other hand had much earlier developed the method of physical actions by which an actor supplements his/her emotional acting with corresponding physical actions. Both these approaches to physical acting have been lauded as systems that immensely help methodical acting yet criticized as well as constrictive to the real spirit of the total emotional experience involved. This has been a criticism raised against all kinds of physical theater. Yet, even the critics will agree that relying on facial expressions and internal feelings alone will render theater motionless and boring. While Stanislavski has more or less tried to provide just a physical actions-based loose framework corresponding to emotional states, the McBurney method prescribes specific physical actions for different emotions and thereby faces the risk of reductionism. Hence, Stanislavskys method of physical actions can be said to be imparting more freedom to an actor than McBurneys method.
Method of physical actions was not merely a directive of physical training for Stanislavsky but the the psychological aspects of any physical action was also accounted for in this method (Chushkin, 1998, p.16). It was acknowledged by this theater maestro that the actor necessarily needed to have an “inner ...Download file to see next pagesRead More
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