Audience part 1
the actor's position onstage in relation to the audience. imaginary lines defining the areas of the stage where the actors can clearly be seen. Actors will talk about "feeding off of" an audience's energy, especially in comedy, As this concept is applied to audiences, it implies a voyeuristic relationship the psychoanalysts who defined the terms were quite unaware of their sexism. Abstract: The claim that performance is constituted and best defined by the It is this performer-audience 'relationship' aspect of performance that I want to most effective when the boundary between spectators and actors is blurred or.
Stanislavski's typology[ edit ] Stanislavski considered the French actor Coquelin to be one of the best examples of "an artist of the school of representation".
Art of representation In "When Acting is an Art", having watched his students' first attempts at a performance, Stanislavski's fictional persona Tortsov offers a series of critiques, during the course of which he defines different forms and approaches to acting. One common misrepresentation of Stanislavski is the frequent confusion of the first five of these categories with one another; Stanislavski, however, goes to some lengths to insist that 'two of them deserve to be evaluated as ' art ': He also makes the concession that so called "mechanical" can appear when done well enough to be almost the same as representation in the eyes of the audience, and is therefore occasionally artistic in quality.
In Stanislavski's approach, by the time the actor reaches the stage, he or she no longer experiences a distinction between his or her self and the character; the actor has created a 'third being', or a combination of the actor's personality and the role in Russian, Stanislavski calls this creation artisto-rol. Confusion of terms[ edit ] Due to the same terms being applied to certain approaches to acting that contradict the broader theatrical definitions, however, the terms have come to acquire often overtly contradictory senses.
In the most common sense that which relates the specific dynamics of theatre to the broader aesthetic category of ' representational art ' or ' mimesis ' in drama and literaturethe terms describe two contrasting functional relationships between the actor and the audience that a performance can create. The type of theatre that uses 'presentational acting' in the first sense of the actor-audience relationship is often associated with a performer using 'representational acting' in the second sense of their methodology.
Conversely, the type of theatre that uses 'representational acting' in the first sense is often associated with a performer using 'presentational acting' in the second sense. While usual, these chiastic correspondences do not match up in all cases of theatrical performance.
Stanislavski's choice of the phrase ' art of representation ' to describe an artistic approach that diverges from his own has led to some confusion, given that the theatre that is often associated with his own 'experiencing the role' approach realistic, not acknowledging the audience is ' representational ' in the wider critical sense.
Uta Hagen's decision to use 'presentational' as a synonym for Stanislavski's 'experiencing the role' served to compound the confusion,  part of the reason she preferred to refer to them more clearly as "formalistic acting" and "realistic acting". They deem it more useful for the actor to focus exclusively on the fictional, subjective reality of the character via the actor's "emotional memory" or "transferences" from his own lifewithout concerning himself with the external realities of the theatre.
Both teachers were fully aware of the 'outside' to the dramatic fiction, but they believed that from the actor's perspective these considerations do not help the performance, and only lead to false, mechanical acting. However, both Stanislavski and Hagen applied their processes of acting towards these types of drama as well, fully aware of their unique requirements to the audience. Hagen stated that style is a label given to the "final product" by critics, scholars, and audience members, and that the "creator" actor need only explore the subjective content of the playwright's world.
What is his definition of drama? Drama is "an imitation of men in action". Three key words-- Imitation: It's not real, it's make believe.
Drama deals with people, men and women. There is movement; a beginning, middle and an end. According to Eric Bentley, what are the three essentials for a theatrical performance?
Eric Bentley Eric Bentley,a British born drama critic, playwright, editor and translator, declares that all you need for a theatrical experience is an actor, a character developed by the playwright in the scriptand an audience.
According to Edwin Wilson and Alvin Goldfarb, what is the "heart of the theatre experience? In short, the audience can affect, and in subtle ways change, the performance. What are the three categories of art?
Literary poetry, drama, fictionvisual painting, sculpture, architectureand performing. What are the four performing arts? Theatre, dance, opera and music. What characteristics do all the performing arts have in common? They all require a creator playwright, composeran interpreter actor, dancer, singer, musicianand an audience.
What is the Theatre?
They also require that the interpreter and audience occupy the same space the theatre at the same time. What are the six major elements of theatre?
- What is Theatre?
Audience, script, actors, director, the theatrical space the theatre and the technical elements of scenery, lights, costumes and sound Is theatre a pure art? Theatre, in performance, is produced by the collaboration of many theatrical artists: Each of these collaborators considers himself an artist.
What are the responsibilities of these collaborators? Writes the text of the play.
Presentational and representational acting - Wikipedia
He develops the characters, outlines the plot, and presents this creation to the audience through dramatic dialogue. Is the head boss of the production company. He picks the play, or property; and is responsible for raising the funds necessary to mount the show.
Is responsible for developing a dramatic interpretation of the playwright's script. He spends most of his time working with the actor. Takes the character developed by the playwright and turns that character into a living creation on stage. Develops the drawings Plans and Elevations necessary to build and paint the sets. He or she supervises the set and property crews.
Develops the drawings Light Plot and charts Hook-up Chart and Cue Sheet necessary to hang, focus, and cue the lights for a production. He or she supervises the light, or electric crew.
In the commercial theatre, the lighting cues are called, not by the lighting designer, but by the stage manager.
Develops the drawings Costume Plate necessary to build the costumes worn by the performers. He or she supervises the costume, or wardrobe crew.
Presentational and representational acting
The three visual designers-- scenery, lighting and costume --create the visual "world of the play. Develops the drawings and charts necessary to establish the type and location of sound equipment microphones, speakers, amplifiers, mixing consoles needed for a show. He or she supervises the sound crew.