1. Basic Stage Movement and Business

2. Movement Visible movements, such as entrances, exits, crosses, sitting, and rising, draw focus (the attention of the audience). All movement should be in character. All movement should be motivated. Make every movement count.

3. Entrances Get into character BEFORE the entrance. Begin your entrance in the wings. At least 5 to 6 feet away. – Focus in the Wings before you are about to make your stage entrance. If 2 characters share an entrance, the speaking character should enter last.

4. Exits Remain in character until you are 5-6 feet into the offstage area. If the exit requires a long cross, make sure the last few lines are spoken near the exit. When several characters exit at the same time, the character with lines should exit last.

5. Crosses Stage Crosses - movements from one stage area to another. Generally the actor takes the shortest, most direct route, which is a straight cross. – Straight crosses convey strength and determination (strong). – Most crosses are made downstage (below) standing characters and upstage (above) seated characters.” – At times a curved cross is necessary to convey casualness, hesitation, or doubt (weak). Always begin a cross with the foot nearest your destination. This keeps the body turned toward the audience.

6. Counter-Cross Actors adjust to each other’s cross by using a counter-cross. A counter-cross is a movement in the opposite direction to balance stage picture – If you find yourself in the direct path of another’s cross you may “counter” by giving way a little and then by adjusting your position after the cross.

7. Crossing on a Line If you are speaking and must cross the stage, walk in front of the other characters. – If you need to cross when others are speaking, cross quietly behind them. – It is generally best to avoid moving when another character is talking, as your movement you will steal attention from the speaker. The moving figure dominates! If two actors cross the stage together, the one with more lines should be upstage, a short step ahead of the other actor.

8. Backing Up This is a weak move and should be avoided unless the move backward makes a dramatic point. Turning Always turn toward the audience unless your director tells you otherwise.

9. Walking up/ Down stairs Practice leading with the toes and coming down on the heel without looking down at the steps. Avoid bouncing up and down the stairs. Before descending a flight of steps, pause slightly, drawing attention to the movement.

10. Sitting Approach the piece of furniture without staring at it. Don’t telegraph the move. Stop in front of chair touch BOTH calves to the chair without moving it. Avoid plopping or slumping into an easy chair or sofa (unless your character would do so). Sit near the front edge of the chair to make rising easier. Avoid crossing your legs onstage. – Females sit with ankles crossed or one foot slightly in front of the other; – males sit with legs slightly apart.

11. Rising Keeping the back straight, push up with the upstage leg. Next, shift your weight to the downstage leg, allowing you to move forward with the upstage foot.

12. Kneeling The downstage knee should touch the floor, helping to keep an “open” position. When kneeling on both knees, the downstage knee should be lowered first; then the upstage leg can be lowered into position.

13. Gestures Avoid covering the face with a gesture. – When handling stage props such as a telephone or making large gestures, use the upstage hand.

14. Personal Business Small actions performed by actors such as: – looking in a purse, – brushing one’s teeth, – tying a shoe, – pouring a drink, – knitting. These actions are related to the character and his/her role in the scene.

15. Movement Notes – Stage Pictures Stage Pictures and Emphasis

16. Movement and Stage Pictures Besides being meaningful, movement should also be functional. The audience must be allowed to see and hear the important items. It is crucial to create focal points that catch and hold the audiences’ attention.

17. Stage Pictures and Tableaus Stage Picture Every moment of a play or scene generates a still image. – If at any moment the actors are to freeze the stage picture should be interesting to the eye. Tableau Motionless figures representing a scene from a story or part of story. – A still image on stage. Often used at the opening or closing of a scene.

18. Emphasis is used by the director to give focus to the performer or area of the stage the audience should be looking at. There are several types and ways this can be done: – Stage Pictures (or composition) – Levels – Planes Emphasis

19. Stage Pictures - Composition Composition is the way the actors are grouped on the stage in an appealing and meaningful arrangement; it is the picture the audience sees onstage.

20. Direct Emphasis The focus of the stage picture is on 1 actor

21. Duoemphasis The focus of the stage picture is on two different actors of equal importance.

22. Secondary Emphasis Focus is divided between a group and a main character

23. Diversified Emphasis Used when there is a Frequent change in the focus (usually between 5 or more characters)

24. Levels The actual head height of the actor determined by his or her body position -sitting, lying, standing, or elevated by an artificial means such as a step unit or platform Meaning is created in stage pictures by placing actors at different levels

25. Levels The higher/taller the actor, the more emphasis

26. Planes Imaginary divisions giving depth to the proscenium stage; – an actor moves through the stage planes as he or she moves downstage toward the audience or upstage away from the audience

27. Planes The depth of an actor onstage (how close an actor is to the audience)

28. Diagonals - Compositions where the actors are not on the same plane. - Often used to create a feeling of tension

29. Triangles Used where 3 or more actors of equal focus are onstage

30. Directors often times use WHERE the actor is on stage (location) in order to place emphasis. Emphasis