Directing Courses For Exploration With The Body And Voice

Above all, I wouldn’t be where I am today without theatre. Without the chance to perform throughout my life, I would be disconnected from the wide array of communities and histories that’s been imbedded in my daily routine. Unfortunately, it’s speculated that the theatre is a dying art form, because of the expanding popularities of movies (“Is”), but I think that it’ll remain a well renowned part of expressing imagination and interpreting history as years pass; it only takes cooperation with school faculty and young students that go above and beyond to change their

“…Then you realise that theatre is a more personal experience.” (Stephen Atkins, Dante’s Inferno Director) After viewing Zen Zen Zo’s physical theatre reincarnation of the

always been known for the risky and powerful movements which are often why dancers retire from the company. The dancer’s movements were often very intense and emotive, such as the “throws” across the stage in which the dancers would, almost violently, launch themselves across the stage in different forms (leaps, falls and flips to name a few). Another section where the movements were emotive is where the dancers were thrusting their hips in different positions to perhaps show sexuality in “self”.

acques LeCoq, a French practitioner and Augusto Boal, a Brazilian practitioner both aim to take their actors and the audience on a journey of discovery. Both Practitioners believed in ‘Freeing’ the body and making it ‘De-mechanicalized’ to enable full interpretation. LeCoq and Boal both use emotion, imagination, extensive body movement, playfulness and political matters to create their methods of theatrical practice.

Being a writer and director are challenging positions. A writer and director must be in-tune with their audience in order to capture

Katie Mitchell’s The Director’s Craft (2009) is aimed to describe anything a starting director needs to know and do. Mitchell suggests that directors can “dip in and out of this book to solve immediate problems” in the rehearsals and production process (2). So the book is giving you detailed suggestions that one needs when directing a play. The book is divided into four parts: ‘Preparing for rehearsals,’ ‘Rehearsals,’ ‘Getting into the theatre and the public performances,’ and ‘Contest and sources.’ Each part is elaborating the process that a director should take from the beginning to the end.

As the music began, I started to move; the pounding of my feet blending in with the melodious sounds of the flute, the ghungaroo(bells) around my ankles, the mridangham (drums), and the blood rushing into my own heart. With the music and my first movements, the fear of being on stage washes away and I am focused on my movements and my expressions—using them to tell a story about my culture, my heritage, and me.

Born in Austro-Hungary in 1879, Rudolf Laban developed a theory that provided a means to exploring and expanding one’s movement vocabulary. Although frequently used in choreographic processes, this toolset helps one explore different aspects of dance improvisation. Worldwide, his theory of analyzing movement has helped dancers grow more creative in their improvisation. When improvising, dancers often use varying levels of structure to control the direction of improvisation, and this particular structure based in Europe is used in almost every setting of dance in academia.

Its arrangement demands the significance of testing our previously established inclinations of what move can, and ought to address. “DV8 Physical Theatre's work is about taking risks, aesthetically and physically, about breaking down the barriers between dance, theatre and personal politics and, above all, communicating ideas and feelings clearly and unpretentiously”( Artsadmin. 2016. DV8 Physical Theatre | Artsadmin. [ONLINE] Available at: https://www.artsadmin.co.uk/artists/dv8-physical-theatre. [Accessed 21 May 2016].)

A fascination with the human body, body were an experience that could somehow be held in common. The ways in which we might experience the body as connected or represent it as disconnected in a live performance. Shifting attention from traditional art object to the artist’s physical action further proposed that art existed in real space and real time. Marina Abramovic, a pioneer of performance art began using her own body as the subject, object, and medium in the early 1970s as she said, ‘In performance my body is object and subject.’ For the exhibition

I’ve adored theatre for as long as I can remember. From writing plays throughout elementary school, to being involved in Drama Club in middle school, to performing in community theatre in high school, and to visiting the theatre as often as I could from the very beginning, theatre has always been a part of my life. Every aspect of it engages me: the directors working to bring their vision of the show’s scenes, choreography, or music to life, the actors transforming into different characters through their expression of dialogue, song, or dance, the costumers and set-builders transporting the audience into the setting and time period with their artistry, the backstage tech and crew working quickly and precisely to keep the show flowing to curtain call, and the orchestra bringing the show to life through music. There is nothing like the experience of live theatre, both as a member of the audience and as a member of the cast and crew.

The essay investigates how a director should communicate and work with actors during rehearsal and on set to produce engaging performances. The essay investigates different acting styles, the rehearsal process, directing on set and communication between actors and director. The essay assumes the actor has formal training and basic experience. The essay then proves effective communication achievable through the “actor’s vocabulary” is key not to over-direct and building trust with the actor.

Method acting is often misinterpreted as an acting exercise where the actor “becomes” the character, and keeps the persona of that character until they have completed their work. This misguided thinking has been promoted by pop culture and even sometimes by actors themselves. The Lee Strasberg Film & Theatre Institute defines the Method as when “actors use their imagination, sense and emotion to conceive characters with unique and original behavior, creating performances grounded in the human truth of the moment.” This definition focuses more on the relationship between the actor and their character, rather than both being one and the same. Method acting is not a new idea. It is thought to have been considered an acting exercise for

Like many, I initially thought I was going to be taking a typical theater class this semester, so when I discovered the class was actually centered around devising, I was worried. I had no previous experience devising, and frankly, I didn’t even know what devising ment. Nonetheless, by being submerged in devising all semester, I learned the processes necessary to write, design, and create a piece in a group setting. Through these processes, I developed some positive skills like giving and taking criticisms, methods of brainstorming, and open-mindedness.

The use of Narrative in film and other forms of media is commonplace; it has become such that the media viewer has not only come to expect it but rely on it somewhat. There are two elements in narrative film today that combine in the engaging of the audience; 'story' and 'production' elements. One example in the Australian film industry of the use of production and story elements in such a way as to engage the audiences' attention is the film 'Two Hands'.