The Body, Voice and Group Work - Essay Example

Student Name: Tutor: Title: Writing and Critical Thinking Course: How was the, body group work and voice communicated in the practical work in class? Introduction The body, voice and group work have been communicated effectively in class. This paper explores the use of the voice, body and group work in a class setting by using examples that were applied within the classroom. It offers an overview of application of words in communication as well as use of voice and body. Language starts instinctually, primitively, physically. The extended roar of hunger, pain, rage, or pleasure was, over a period of time, articulated into a detailed communication by muscles in the body that respond to an evolving body-mind-intellect. In the effort to convey increasingly precise information the brain deploy muscles in the mouth to demarcate between positive and negative reactions and to eventually describe facts and objects as well as handle the minutiae of language. It is not conceivable that when the mouth begun to make words it did so in a manner separate from other familiar exercises performed by it like snarling, kissing, sucking, lip smacking, lapping, and chewing (Linklater, 2007, p.327). Communication and corporation in classroom has improved throughout the course with people becoming aware of the role they have to play. Discussion The teaching process requires that the teacher should have a deep knowledge of the body, the manner in which it moves, and an a unique sensitivity to every individual student’s weaknesses and strengths not only as actors, as well as, ‘liver or life’, be conveyed and captured with lesser experience (Murray, 2003, p.127). This challenge has to be dealt with every teacher in his lessons. In group performance at the airport, actors took different roles as a door, travelers and security. A travel is unaccustomed to the environment around her. She tries to enter the automatic door of the airport. While other travelers entered into the door with ease. She failed to enter the door. Her voice was frantic and frightened. Self-directed group of students can follow through the required steps with a lot of ease. Where the voice settles in the nose, there is difficulty being heard. What is heard may not be what was intended. The lady made grunts as he struggled to gain access to the automatic door. A variety of thought would not find free play via a corresponding range of resonating qualities. Whatever was being communicated could not come out perfectly. Content is normally distorted by the one resonating form that is available (Linklater, 1976, p.13). The volume, opening, and shape of the resonators determine the sound’s overtone structure of sound, whereas the basic pitch is determined by the rate of vibrating of vocal folds. The lady could not let out the voice clearly as she tried to explain that she was being late. Only grunts could be heard. The lady heaved with emotion. Words have grown to largely become utilitarian in everyday life and are directed to run begging from the speech cortex straight into the mouth. They hardly pick up an emotional charge except when under extreme provocation. Passionate joy, rage, grief or love might break through convention and begin the ignition of what is referred to as visceral truth (Linklater, 2007, p.328). There is a large territory of expression between passion and utility that can profit from visceral connection devoid of waiting for extremity. In hurry the lady changed to use another door and amazingly the automatic one was opening. She trusted he chest forward while flexing her arms in anger. Bodily actions showing incomplete effort participation express a range of inner attitudes (Laban, 1988, p78). Attitudes appear usually as transitions essential actions and often possess a recovery function. They act an essential part in the configurations of motion elements and factors, which are normally groupings as opposed to simply additions. These configurations construct individual units whereby the single constituent parts immerse entirely. Consequently the whole gains every time a new meaning, function and importance which none of the single will not claim to have or to fulfill by itself. When considering the incorporation of three motion factors, there is a set of new variations that are basic. They are observed when the expression is more pronounced, more communicative, and more intense as compared to the display of inner attitudes. Laban,1988, p79) These is the kind of emotions that the lady traveler experienced as tried to gain access to the automatic door that was not opening. The carriage of the body is influenced by the physical law of gravity that determines where the center of gravity is situated. The center is located under the pelvis region when in the normal mode above the support point. The upright carriage of a person brings into prominence the chest’s actions where the breast-bone is referred to as ‘center of levity’. Shoulders can move around the center of levity and the spine independently as well as relying on each other. Body movements are important at emphasizing the point of the message. Group work is very important for student to develop their skills in learning. Group actors devise or improvise available apparatus and thus increasing the skills and creativity of students. Initially in the term ‘devising’ had less radical implications, directing more emphasis on specialization, skill sharing, enhancing division of responsibilities like the role of devisor/director or the administrator (Oddey, 1984, p.26). There has been a significant shift in collaboration. The performance about the hapless traveler at the airport required different actors in the group taking on different roles. Working in teams or groups is the best moment for the student to apply the theoretical skills they have learnt in class. The sense of imagination is enhanced as different actors strive to bring the best out of themselves (Berk & Trieber, 2009, p.47). Playing a game is very different in degree but not in kind from any dramatic acting. The ability to come up with a situation imaginatively and take part in it is tremendous experience; it can be referred to a sort of vacation from the routine everyday life that can result in boredom (Spolin, 1983, p.395). The enacting of the airport act was important to give the performance a chance to express themselves devoid of the theories and abstracts learnt in class. Improvising makes the students creative and able to apply the skills that they have learnt throughout the course. Supporting each other to bring out the role of every actor is very important (O’Neill, 1995, p.121). Creative group play helps to develop the acting skills of performers. Self-discovery occurs when actors engage in group interplay. It is a period of growth that equips actors. Intuitive can respond to immediacy and it comes carrying its gift in the moment of spontaneity. People are freed to act and relate, taking part in moving; turning around the world. Spontaneity which is the moment of personal freedom is exercised when reality is felt and seen (Spolin, 1983, p.395). Acting can be taught to the talented as well as the average so long as the teaching process is geared towards making the theater techniques intuitive to allow independence in the students. Relying on other people’s findings ceases to the case and individual performance is emphasized. Improvising techniques derived from experience are very important. Stage managing skills develop in these group role-playing. Conclusion Drama and theater requires the effective use of the body, voice and teams. The voice is very significant since it communicates the inside attitudes within a person. The body movement complements the voice to give significance to other body reactions such as joy, disgust, fear or anger. The intended purpose of communications can be distorted when the conveyor of the message is experiencing undue pressure do the prevailing circumstances. Words have grown over time to become a tool that can be used to effectively articulate ideas. People learn through experiencing and experience and hardly anyone teaches anyone anything. Experiencing allows penetrating into the real world environment. Spontaneity and intuitiveness is the moment of glory in acting and performance become full charged to take the stage and apply their skills without inhibitions. Intuition and spontaneity helps to bring out the skill and talents in actors in a devised theater. References Berk, R. A., & Trieber, R. H., 2009, Whose classroom is it, anyway? Improvisation as a teaching tool, Journal on Excellence in College Teaching, 20 (3), 29-60. Laban, R., 1988, The mastery of movement, Northcote House, Plymouth, England, pp.66-75. Linklater, K., 2007, Freeing the natural voice: imagery and art in the practice of voice and language, Nick Hern, London, pp.327-355. Linklater, K., 1976, Freeing the natural voice, Drama Book Specialists, New York. Murray, S.D., 2003, Jacques Lecoq, Routledge, London; New York, pp127-151. Oddey, A., 1984, Devising theatre: a practical and theoretical handbook, Routledge, pp.24-41. O’Neill, C., 1995, Drama worlds: A framework for process drama, Portsmouth, NH: Heinemann Spolin, V., 1983, Improvisation for theater: a handbook of teaching and directing techniques, Northwestern University Press, Evanston III, P.395 Read More