1. A CTING Body, Voice, and Characterization

2. A CTING The art or occupation of performing in plays, movies, or television productions. Thespis- first actor, 556. BCE Greece Thus the word Thespian is synonymous with actor. Acting not considered a profession till the 16 th century. It was not until the 17 th century until women were allowed to act on a professional level in Europe.

3. A CTOR ’ S T OOLS Body Characterization Imagination Voice

4. B ODY : M OVEMENT Basic Principles of Movement: All movement must be purposeful. All movement must be simplified. Movement must delineate character. Movement must “open” to the audience without appearing obvious Movement must adjust to the characters on stage.

5. PLAY-ANALYSIS ( FROM HODGE, 57-58) GIVEN CIRCUMSTANCES Environmental facts 1. Geographical 4. Political 2. Date 5. Social 3. Economic 6. Religious Previous action Polar attitudes of principal characters Significance of the facts in the total meaning of the play

6. H OW DO YOU IDENTIFY THE GIVEN CIRCUMSTANCES ? Analyze the text - simply look at all the information relating to the character that the dramatist tells you (or what you can discern from the comments). Pick out the most significant elements. Some of the most useful info is what OTHER characters say about YOU!

7. READ ME

8. An inciting incident kicks off the ACTION of the play. A sequence of actions is defined as plot. PLOT is the imitation of the action...the arrangement of the incidences CHARACTER, the agents of the plot THOUGHT (THEME) is a general truth enunciated DICTION is the expression of the meaning in words SONG is an embellishment whose sense everyone understands SPECTACLE is the least artistic, connected least with the art of poetry Well-written plays have a BEGINNING-MIDDLE-END.

9. A plays BEGINNING lays out its GIVEN CIRCUMSTANCES. Time and place Social circumstances, age, sex, etc. of characters Prevailing mood/atmosphere In short, details provided by playwright to create the world of the play GIVEN CIRCUMSTANCES are uncovered by careful reading of what characters say and the stage directions

10. WHO The people of the play (Characters) PROTAGONIST is who the play is about and the ANTAGONIST prevents the protagonist achieving their goals

11. WHEN The specific time of the action and its elapsed time.

12. WHERE The environment of the script. Geographical and exact

13. WHAT The major conflict as expressed in previous actions

14. GIVEN CIRCUMSTANCES Motivation: What motivates your character? What conflict is driving them to action? Objective: What does your character want? Obstacle: What is standing in the way of your character getting what they want? (Person,situation,thing) Tactic/Strategy: What do they DO to get what they want?

15. GOAL OF ANALYSIS FOR GIVEN CIRCUMSTANCES UNLOCK a script’s structure to clarify the ACTION Understanding a play’s structure is like having a blueprint.

16. Most longer plays will require additional RESEARCH.

17. P ANTOMIME a dramatic entertainment, originating in Roman mime, in which performers express meaning through gestures accompanied by music. “acting without words”

18. P ANTOMIME Body language, facial expressions and gestures to communicate 1. Consistency-keeping objects the same size, in the same place 2.Exaggerated Resistance-define and make movements sharp and crisp, make every movement bigger than life. 3.Exaggerated Facial Expressions and Gestures- keeping expressions and gestures specific but bigger than LIFE!

19. Y OUTUBE P ANTOMIME ’ S Solo Pantomime: Duet Pantomime: https://www.youtube.com/watch?v=qJy6gzGLx7U Group Pantomime: https://www.youtube.com/watch?v=tNKe04KFRk 8