1. MOVEMENT
actor’s studio I

2. MOVEMENT TYPES OF STAGES STAGE DIRECTIONS BODY POSITIONS
PRINCIPLES OF MOVEMENT
BLOCKING
STAGE COMPOSITION
CHARACTER MOVEMENT

3. TYPES OF STAGES
PROSCENIUM THRUST ARENA

4. PROSCENIUM

5. Proscenium Stage
PROSCENIUM ARCH
AUDIENCE
APRON

6. THRUST

7. THRUST STAGE

8. ARENA “theatre in the round”
flexible seating

9. ARENA STAGE

10. STAGE DIRECTIONS proscenium & thrust stage only
Strongest area

11. STAGE DIRECTIONS arena staging only#2 #2
North/12:00
West 9:00 #1
East 3:00
center
South/6:00 #2 #2

12. BODY POSITIONS FF-important lines ¼ - most dialogue scenes Profile:
intense scenes such as quarreling, accusing, romancing, etc.
used to obtain comic effects
FB – used in special occasions

13. Identify the body positions…
The Prime of Miss Jean Brodie

14. PRINCIPLES OF MOVEMENT
1. All movement MUST be motivated or justified.  
NO shuffling your feet, fidgeting, or nervously moving.
An actor should never move without a purpose.
2. All movement must be simplified.  
Use carefully chosen movement that clearly conveys your ideas.
3.All movement must be heightened.   
Due to the distance between the actor & audience some exaggeration or heightening is necessary.  Ex: drawing special attention to an object . For example, the hiding of a letter in Act I that must later be found in act III

15. PRINCIPLES OF MOVEMENT
4. Movement must reveal character.
A character’s personality, attitude, health & age SHOWS movement
Fat person vs. thin person; easy-going person vs. nervous person;   Youth’s actions vs. older people.  
Always move in character!
5. Movement must be “open” to the audience 
 Always play toward the “house.”  
Use a one quarter body position
Make turns toward the audience
Use you upstage hand so you can “open” your face to the audience. 

16. PRINCIPLES OF MOVEMENT
6. Movement must adjust to the characters on stage.
Keep in mind your relationship to the other characters.
People who dislike each other generally keep at a distance
Those fond of each other will feel the need of closeness

17. BLOCKING The precise movement and positioning of an actor on a stage
BLOCKING NOTATIONS
EN – enter (to come in)
EX – exit (to leave)
X – to cross (or move from 1 stage area to another)
CX – counter cross (move away)
A – above (upstage of object)
B – below (downstage of object)
O – open up or “cheat out” (turn body, face to audience)

18. BLOCKING NOTATIONS
1. DR 1/4L 2. X UC-FF 3. X UR-1/4L 4. X C-PRL 5. X DL-3/4R 6. X UL-FF

19. RULES WHEN BLOCKING 1. Avoid “flat” blocking. 2. Use triangles.
Use angles & diagonals; looks more dynamic
2. Use triangles.
Creates goods composition instantly with actors and in relation to set choices
3. Make crosses downstage from furniture and actors
Scenes behind furniture feels distant & unrealistic
4. Block shared scenes on the same plane
Otherwise you will be upstaging

20. RULES WHEN BLOCKING 5. Avoid “over blocking”
Constant moment doesn’t carry much meaning
you just look busy and it doesn’t show character
Show the meaning behind the line and show that
ALL MOVT. MUST BE MOTIVATED
6. Create build with blocking.
Work to show the build in the scene, don’t start out in other’s faces in a stand off

21. BLOCKING RHEARSALS 1. Work through the practical blocking
entrances, exits
answer phone, turn light on/off
Playwright’s notes
Don’t follow what’s written
look to dialogue – add your own!

22. BLOCKING RHEARSALS 2. Look at the basic blocking patterns
Determine the climax and work towards it
Ex: love scene (start far apart and then get closer together) = physically shows the build *climax* of the scene
Use the character’s objective, obstacle & tactic to help you make blocking choices
As the beat changes, logically this could be a good be time to move as well. (transition in thought)

23. FURNITURE PLACEMENT Angle furniture pieces
Straight lines look flat
Limit pieces to go against a wall
limits blocking
Action’s played in front
Looks flat
Wait Until Dark
Keep distance between furniture pieces
Need room for movement patterns between pieces

24. The Mousetrap

25. Fox On The Fairway

26. FLOOR PLAN X Straight cross Curved cross
shortest, most direct route
Strength, decisiveness & determination
Curved cross
indecision, casualness, grace, or ease
A bird’s eye view of the set, drawn to scale, showing placement of set pieces & furniture X
Front door
Bath room
Desk
Windows

27. STAGE COMPOSTION BALANCE LEVELS Create balance; counter crossing
Generally, standing in straight lines is a no-no
A Little Night Music
LEVELS
sit, kneel, stand, lie down
Show power; social status
Laughter On The 23rd Floor

28. STAGE COMPOSITION DEPTH FOCUS Use of triangles Groupings
The Diary of Anne Frank
STAGE COMPOSITION
DEPTH
Use of triangles
Groupings
Different planes
How To Succeed In Business
FOCUS
Direct audience’s attention
Composition

29. CHARACTER MOVEMENT
When an actor adds DETAILED, physical action, which furthers the character’s believability and realism
Mannerisms
Stage Business
Gestures

30. CHARACTER MOVEMENT MANNERISMS STAGE BUSINNESS GUESTURES
Habits of the character without a prop
Ex: bouncing leg, twirling hair, cracking knuckles
STAGE BUSINNESS
Habits of the character with a prop
Ex: smoking, tapping a pencil, popping chewing gum
GUESTURES
using hand, arm, body, head or face movements to express thought or emotion
Ex: wave good bye or come here; frown, stick out tongue

31. Identify the gesture, mannerism or stage business…

32. CHARACTER MOVEMENT WEIGHT TIME SPACE POSTURE
How light or heavy the character is on their feet; not the physical weight of the character
TIME
The speed in which the character moves
SPACE
The amount of space the character occupies or takes up
POSTURE
The body position of the character as they move

33. MOVEMENT REMINDERS (all but arena)
AWAYS…..
Give and take
Use the upstage part of your body
Keep the picture balanced unless told otherwise
Stay open to audience
Use motivated movement
Move on your own lines
Use detailed movement to show characterization
NEVER….
Upstage another actor
(force dstg actor to turn upstg to talk to you)
Cover another actor
(stand in front of)
Pull focus!
Stand in straight lines, unless told to do so
Break character