7241598
Description
Mind Map by Amy Talbot, updated more than 1 year ago
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Created by Amy Talbot
about 8 years ago
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Rehearsal Techniques
- Gestus
- finding the right combination of
facial expression, vocal
intonation and body language to
express the difference between
characters
- finding the right combination of
facial expression, vocal
intonation and body language to
express the difference between
characters
- role-on-the-wall
- usually an outline of a
person with information
inside about the
character you are
exploring and questions
around the outside
- usually an outline of a
person with information
inside about the
character you are
exploring and questions
around the outside
- still image /
freeze-frame
- one person acts as the 'sculptor' and
creates 'images' by positioning
individuals in relation to one another
OR a group creates a still image,
building up one actor at a time OR a
scene is stopped at a key moment
when it is being rehearsed to allow
for that point in the scene to be
reviewed
- one person acts as the 'sculptor' and
creates 'images' by positioning
individuals in relation to one another
OR a group creates a still image,
building up one actor at a time OR a
scene is stopped at a key moment
when it is being rehearsed to allow
for that point in the scene to be
reviewed
- the magic 'if'
- actors put themselves
in the character's
position and talk about
how they would
respond / what would
happen 'if' scenarios
occurred
- actors put themselves
in the character's
position and talk about
how they would
respond / what would
happen 'if' scenarios
occurred
- hot-seating
- someone in the
'hot-seat' must
answer questions
posed by other
members of the
group while they
are in role
- someone in the
'hot-seat' must
answer questions
posed by other
members of the
group while they
are in role
- inner thoughts / thought-tracking
- while acting a scene, director calls
out 'inner thoughts' and the
actors explain their thoughts and
feelings at that point
- while acting a scene, director calls
out 'inner thoughts' and the
actors explain their thoughts and
feelings at that point
- tension states
- an actor is given an
emotion with which to act
out a scene
- an actor is given an
emotion with which to act
out a scene
- animalisation
- an actor takes on the
characteristics of a
specific animal which
can affect their
physicality and speech
e.g. lion, mouse, snake
- an actor takes on the
characteristics of a
specific animal which
can affect their
physicality and speech
e.g. lion, mouse, snake
- the hand of charisma
- Actors follow the outstretched
hand of a fellow actor. Practices
focus and physical control. The
hand could also be used to
indicate emotion
- Actors follow the outstretched
hand of a fellow actor. Practices
focus and physical control. The
hand could also be used to
indicate emotion
- Bamboo Sticks
- Actors balance a bamboo
stick between each other and
walk around the space as
they rehearse the scene to
explore power, status,
dominance and tension
- Actors balance a bamboo
stick between each other and
walk around the space as
they rehearse the scene to
explore power, status,
dominance and tension
- conscience alley
- for exploring a dilemma faced by a
character, an actor walks between
two lines of people, who give different
pieces of advice. Once the walking
actor has completed the 'alley', they
make their decision
- for exploring a dilemma faced by a
character, an actor walks between
two lines of people, who give different
pieces of advice. Once the walking
actor has completed the 'alley', they
make their decision
- bigger and bigger
- actors identify the beats
and units (Stanislavski).
They act and the director
commands 'bigger' and
'bigger'. In response, the
actors exaggerate their
actions, facial expressions
and emotions.
- actors identify the beats
and units (Stanislavski).
They act and the director
commands 'bigger' and
'bigger'. In response, the
actors exaggerate their
actions, facial expressions
and emotions.
- repetition
- Actors study each other and repeat what they
observe about each other, e.g. ‘you raised your
eyebrow’, ‘I raised my eyebrow’, ‘You took a step
back’, ‘I took a step back’… (Sanford Meisner)
- Actors study each other and repeat what they
observe about each other, e.g. ‘you raised your
eyebrow’, ‘I raised my eyebrow’, ‘You took a step
back’, ‘I took a step back’… (Sanford Meisner)
- levels
- actors explore
status, hierarchy
and power
through their
levels during a
scene
- actors explore
status, hierarchy
and power
through their
levels during a
scene
- the ladder exercise
- Actors stand on
ladders and move
up and down as a
scene progresses
to convey varying
levels of power
and status
- Actors stand on
ladders and move
up and down as a
scene progresses
to convey varying
levels of power
and status
- string
- Similar to bamboo
sticks, actors have
string tied to their
wrists to explore
proxemics and stage
space as a scene
progresses
- Similar to bamboo
sticks, actors have
string tied to their
wrists to explore
proxemics and stage
space as a scene
progresses
- shoaling
- a group assembles and sets off as one,
keeping speed constant. When an obstacle is
reached, whole group turns and new leader is
the person at the front, with the aim of
maintaining fluidity and movement as a group
- a group assembles and sets off as one,
keeping speed constant. When an obstacle is
reached, whole group turns and new leader is
the person at the front, with the aim of
maintaining fluidity and movement as a group
- choric speaking
- One person speaks a line or lines
and is recorded. Rest of the group
listens to recording and speaks the
lines as the first actor does. Aim is
for the chorus to sound like one
person with many voices, rather
than many different people.
- One person speaks a line or lines
and is recorded. Rest of the group
listens to recording and speaks the
lines as the first actor does. Aim is
for the chorus to sound like one
person with many voices, rather
than many different people.
- master and servant
- Off-text, one character
becomes the 'master', giving
orders which the other
characters must follow, to
explore power and
relationships as well as vocal
pitch, intonant and volume
when giving the orders
- Off-text, one character
becomes the 'master', giving
orders which the other
characters must follow, to
explore power and
relationships as well as vocal
pitch, intonant and volume
when giving the orders
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