Aspect of acting
La mujer en el cine mudo italiano There is an interesting paper about the relationship between divas of the Italian silent cinema and the forms of the hysterical attack Torello, Because a medium offers the potential for creativity, of course, it does not follow that all its practitioners are necessarily creative: there are imitative artists in every medium. Now, what particular characteristics does this distribution of the sensible assume in realistic theatre? Buenos Aires: Atuel, There will be two fundamental devices for doing it: the fourth wall and the experiencing. We must distinguish three facets of realism which are usually perceived as fused. For this reason, no other element dramatic text, direction, etc. The propensity toward realism is a constant in Western culture, which takes us to the referent issue. In fact, as an event, acting possesses an irreducible opacity 25 , which plays down any type of previous planning of the scene The character, who acts and feels according to the circumstances an illusionism by which Drama does not present itself as the secondary exhibition of something original , is the agent of the author and the spectator, who watches an image of himself reflected on stage. Since then, film acting was inclined to the attenuation of gestures and the elimination of theatrical remains. It aimed to produce films based on screenplays by contemporary authors and playwrights, and performed by famous theatre actors. Start Your Free Trial Today I have heard those for whose opinions in other directions my respect is great, utter judgments on this subject which proved that they had not even a suspicion of what the art of acting really is. Theories of traditions Throughout the history of theatre, debate has continued over the question of whether the actor is a creative artist or simply an interpreter.
On how this develops in the so-called postdramatic theater, see Mauro a. The actor is at once the piano and the pianist. For this reason, the external and stereotyped forms of acting become unsustainable.
This would not have been possible without the definite approach of cinema to the expectations of that audience.
Conversely, other forms of acting, especially those to which realism opposed, were rejected by their artificiality and falseness. A character is created by the actor, often without reference to a dramatic text, and a drama is developed out of the spontenous interactions with other actors. The system helps when that does not happen. In fact, each acting performance involves collective ideas about subjectivity and the symbolic, and their relationships with the moral, ideological and aesthetic imperatives which struggle for hegemony in any society. Therefore, the utilization of famous actors offered one of the essential elements for that audience: a focus of narrative interest, that is, the possibility to follow and identify with a character. Many of the best imitators are unable to act in their own person or to create a character that is an extension of themselves rather than an imitation of someone else. For a kind of theatre which looks to cause an illusion of reference, the fourth wall not only eliminates the distraction created by the audience but also closes the scene on itself, transforming it in a parallel world that follows a plan predetermined in the rehearsal. In his The Theatre and its Double , Artaud compared this interaction to the way in which a snake charmer communicates with a snake, a process which he identified as " mimesis "—the same term that Aristotle in his Poetics c. For auditions, actors will have to go dressed similarly to the character they are auditioning for to make it easier for the casting director to visualize them as the character.
That explains the appearance of the director in the late 19th century. But this is not the only possible approximation. This places the condition of actor over the character and collides with the aspirations of realism. However, realism reappears over and over on the stage sometimes only as a language game on the postdramatic scenewhile some of its procedures persist in acting and directing classes, confused with essential rudiments of training or staging.
In this way, every external sign produced by the actor will have correlation with an experience, which determines the enormous success and extraordinary dissemination of the system in Western theatre.
The only demand for the actor was not to stay immobile during the shot or make conventional gestures that resembled a mime artist. It provides a stable structure which makes possible a position of retreat, distance and caution.
Actors that performed in these movies were not theatre actors, because cinema was a disreputable art form. Is it the feelings experienced by the actor?
Thus, the dialogue as a closed dialectic crystallized as the most appropriate form of scenic expression for social and political matters. Transitive representation prevailed in traditional Western theatre, conceived as an idea or sense that is absent and is replaced on and through the stage see Mauro, a. Physiological effects[ edit ] Speaking or acting in front of an audience is a stressful situation, which causes an increased heart rate  Baldwin,  Lacey, It is impossible for the actor to make a synthesis of them in the way the playwright or director can that is, establishing a strategy. It is in the place of the other, full of elements and circumstances which cannot be dominated beforehand. In fact, various contemporary aesthetic proposals which reject realism implicitly or explicitly maintain the supreme importance of scenic direction, no longer as guarantor of the sense emanating of the dramatic text, but as organizer of the diverse scenic languages or the found objects discovered by the actor in the rehearsal. Szondi states that the subjects of drama are projections of the historical subject. This is the body's way of responding to stress. This new role is no longer restricted to indicating entrances and exits of the scene, but he becomes the guarantor of the transparency of representation.
That is, a performance in which every external sign correlates with a real feeling. Reflexive representation, instead, consists in the self-representation of the new element and the showing of its presence.
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