Presentation on theme: "Picturization and Movement"— Presentation transcript:
1Picturization and Movement Directing OneSpring 2013
2PICTURIZATION A definition Picturization is storytelling by a group of actors. It is brought about by the combineduse of composition, gesture and improvisationwith properties for the specific purpose ofanimating the dramatic action.--Francis Hodge (114)
4PICTURIZATION A definition Picturization is the storytelling aspect of blocking. It concerns itself with revealingcharacter, emotion, and motive throughmovement, body language, and business. It is revealed using movement that goes from one composition to another.--Jim Patterson (119)
6COMPOSITIONPATTERSON: The technical aspect of blocking that leads the audience to see clearly what the director believes is important. It concerns itself with CLARITY—the pleasing arrangement of characters within the setting that lets the audience know where to look at a given moment. It is a still-life painting of the stage at one moment in time. HODGE: The physical arrangement of actor-characters in a groundplan for the purpose of discovering dramatic action and of illustrating it in the simplest possible way through emphasis and contrast.
7What the audience sees Enhance the visual appeal of the play FocusBalanceSpaceAreaLineLevelContrastHelpful Composition helps the audience notice what the director thinks is important.A particular challenge with a large cast
8Elements of composition What character (or characters) are important?Are the characters pleasingly arranged?Is the balance symmetrical? Asymmetrical?How is the acting area defined?Pay attention to the essentialsFocusBalanceSolidity
9What elements of composition are shown in this painting? Tiepolo: Rachel Hiding the Idols (c1729)
14LineFocus through line is achieved by having characters in a group look at the person or persons who should receive emphasisThe Iceman Cometh, (1946)
15SPACEThe Iceman Cometh (1946)Space surrounding an important character in a full stage composition is basic blocking technique to give character focus.
16LevelThe Iceman Cometh, 1999The higher the actor’s head, the more focus the actor seems to get.
17AreaIn a proscenium stage, the following stage areas seem more emphatic than others:Center stage areas are stronger than SL or SRCharacters closest to audience are most emphaticSR is usually more emphatic than SLDS areas are stronger than US
21PICTURIZATIONPICTURIZATION IS GIVING MEANING TO WHAT THE AUDIENCE SEES.While composition is primarily concerned with the attractiveness of groupings…picturization involves the inherent meaning of how and where the actors moveTheir positions on the stageTheir body languageThe business they performPicturization is also concerned with the amount, speed and direction of movement.
39Strong and weak movements Forward movement conveys strengthCrosses from USR to L or DSC are inherently strongMovements that take a character back (away from the audience) are inherently weakMOVEMENT, both strong and weak, is a tool for the director to use for dramatic effect
40Specific Uses of Movement Acceleration in both speed and duration can help build to a climaxA bold cross while others are still can signal a change in objectiveA general change in the stage picture can punctuate a transitionA flurry of crosses followed by stillness brings focus to dialogue, action or plot
41When not to move Limit a speaking character’s movement while speaking Important lines may not be clearly understood if the actor says them while movingDon’t allow actors to cross another while speaking unless you want to take focusDon’t permit business to distract from the key element of the composition
42Business and movement create meaning Spatial relationshipsKinds of movementBusiness activitiesThe stamp of the director
43STAGE PICTURE Michael Wainstein: “The totality of what the audience seesfrom their seats. Ideal stage picturesare unified, artistic and reflective of theinner life of the play in every moment.”(p. 286)
47BLOCKINGDefinitionsThe choreography of the play established by the director and actors. (Wainstein)The movement of the actors through the setting. (Patterson)The director is an image-maker…Blocking is the process of stimulating actors to image-making through groundplan, compostion, gesture, improvisation with properties, picturization and movement. (Hodge)
48George C. Wolfe at work on Tony Kushner’s adaptation of MOTHER COURAGE AND HER CHILDREN (2006)
49PRIMARY TECHNIQUES OF PICTURIZATION (Hodge) Encourage PICTURIZATION over and around obstacles. Encourage space separations between characters and the use of different planes, levels and body positions. Look for intimate climactic picturizations and encourage actors to touch one another if appropriate to the scene and the decorum. Look for appropriate character-mood-intensities of the different characters.
59SECONDARY FUNCTIONS OF PICTURIZATION (Hodge) BALANCE the stage. Exploit the STAGE CUBE—you are blocking in 3 dimensions. Exploit the EXTREMES of the stage floor by using the full depth of the groundplan.