How Directors Work with Actors

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Scope of the essay: 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. The Hypothesis: If an engaging performance is dependant on effective communication between director and actor, then studying what an actor needs communicated to him by the director will ensure the actor understands the…show more content…
He weaves the soul of the person he is to portray out of emotions that were dearer to him than everyday sensations” (Stanislavsky, K: 1936). I believe this is one of the most effective ways of acting, but in modern cinema this techniques has often been described as “dangerous” to the actor’s mental health. This is because the actor creates a new character by using his own experiences and reawakens emotional trauma that is part of his own life, and not that of solely the character. The following exercise allows the actor to focus their senses to become more receptive to “sense memory.” The actors should begin by focusing on the three dominant senses: sight, sound and touch. The actor should then choose an object that appeals to these senses and start to explore it intensely. The actor should become aware of which sense is the most dominant and record the finding to discuss afterwards. Next, the actor should assume a comfortable position and focus all attention on a single stimulus such as a colour, sound, texture etc.) This should carry on for about 5 minutes, after which the findings should be documented and discussed (Taylor, J. 2001). I feel that these exercises are useful if performed before rehearsals by only the actor. The experiences the actor gained through these exercises should only be available for recall during rehearsals. It is not important for the director to know how or where the
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