GROUP 4
SPEECH AND THEATRE ARTS - PLAY PRODUCTION
CANVA PPT DRAFT
1-5 - NOREEN ABENIR
> The Acting Process
> Improvisation
> Improvisation Theater
> Improv's Benefits
references;
- **The Acting Process**
- **Analyze the Role**:
1. Use the script for character information and fabricate missing details.
2. Define character goals: objectives, super objectives, and sub-objectives
("beats" and "units").
3. Understand character relationships (subtext and communication dynamics).
4. Determine the character's function in the play.
5. Sensitivity to subtext and emotional motivations.
6. Role in the overall production.
- **Psychological and Emotional Preparation**:
- Use "magic if" to explore character scenarios.
- Employ emotional memory, sense memory, and substitution.
- **Movement, Gesture, and Stage Business**:
- Stage business: Physical movement that reveals character or aids action.
- **Blocking**: Arrangement and movement of performers relative to each other
and the stage.
- **Gesture**: Used to express character traits.
- **Cheating**: Positioning to ensure visibility to the audience.
- **Crossing and Counter-Crossing**: Movement to balance stage picture.
- **Vocal Characteristics**:
- Improve vocal quality (projection, tone, inflections) and articulation
through exercises.
- **Learning Lines**:
- Understand the purpose and context of lines, beyond memorization.
- **Conservation and Build**:
- Develop a sense of economy in action to build stronger performances.
- **Ensemble Playing**:
- Collaborate as a unit towards a common goal for cohesive performance.
ACTING TECHNIQUES
- **Classical Acting:**
- **Overview:** Rooted in the traditions of ancient Greek and Roman theater,
focusing on the use of elevated language, physicality, and adherence to traditional
dramatic structures.
- **Key Features:** Emphasis on rhetoric, diction, and the classical
understanding of character and action. Often involves a formal style and adherence
to classical texts.
- **Stanislavski's Method:**
- **Overview:** Developed by Konstantin Stanislavski, this technique is designed
to create a more natural and truthful performance.
- **Key Features:** Focuses on psychological realism, emotional memory, and the
use of "given circumstances" to build a character. Encourages actors to explore
their own emotions and experiences to bring authenticity to their roles.
- **Method Acting:**
- **Overview:** Evolved from Stanislavski's work, Method Acting is associated
with Lee Strasberg and the Actors Studio in New York.
- **Key Features:** Encourages actors to draw on their own emotions and
experiences to fully inhabit their characters. Involves techniques such as
emotional recall and sense memory to create a deep connection between the actor and
the role.
- **Meisner Technique:**
- **Overview:** Developed by Sanford Meisner, this technique focuses on the
actor’s ability to react spontaneously and truthfully to their scene partner.
- **Key Features:** Emphasizes "repetition" exercises to help actors stay present
and responsive. The technique trains actors to listen and react instinctively,
fostering genuine interactions and emotional responses.
IMPROVISATION TECHNIQUES
Improvisation's most simplified definition is "acting without a script". In other
words, actors in an improvised scene must create an original scene, complete with
character, setting, conflict, as well as all the other dramatic elements, "off the
top of their heads".
Improvisation in Western Theatre has a rich history, stretching as far back as the
ancient Etruscan civilization. However, it was during the Renaissance that the
form became popular in the form of traveling Commedia dell'Arte troupes. Commedia
troupes would travel from town to town and perform plays based on the interactions
of stock characters. Though certain narrative elements were outlined and planned
ahead of time, the dialogue and comic "bits" (or lazzi) were often improvised.
In the 20th century, improvisational forms of theatre became very popular. Viola
Spolin, considered by many to be the founder of modern improvisational techniques,
was a very influential director and improv teacher. Her son, Paul Sills, was the
original director of Chicago's The Second City: a sketch and improv troupe that has
nurtured many popular comedic actors whose performances we enjoy today.
Words to Know
platform -- refers to the "who", "what", and "where" of a scene
offer -- any verbal or physical suggestion made by another actor
explore -- refers to the act of accepting an idea offered by a fellow actor, and
then exploring the natural consequences of that idea
blocking -- refers to the act of rejecting information or ideas offered by another
performer (a "no no")
canceling -- the act of one performer making the actions of another performer
irrelevant (another "no no")
focus -- the act of making sure that the audience's attention is only in one place
at any given moment.
BENEFITS OF LEARNING IMPROV
Improvisation that focuses on narrative is an art form that provides the
opportunity for a person to develop themselves on many different levels. It’s far
more than just having the ability to jump up on stage with friends and make some
entertaining stuff up.
It sets up a safe and fun environment for a person to undergo experiential self-
directed learning. Through the interactive exercises and activities, a person is
able to experience learning on an intellectual, physical and emotional level. With
regular practise a person a person is able to self-reflect on their learnings and
make better choices. This personal growth results in not only being a better
improviser but a person is able to transfer this learning to every area of their
life, whether it’s personal relationships, or professional work or school.
Improvisation is the wonderful vehicle for leadership development, whether it’s
self-leadership or leadership of others, as it imparts crucial life skills that
every person needs.
6-10 - NICOLE ABSALON
> 5 Basic Improv Rules
1. Make Choices
Start by establishing the foundation of your scene. This is a three-part process:
A. Who (basic character type)
The best way to create a character in improv is to think of a very specific
personality type and just start moving like the character. Choosing an occupation
might help to spark a character. Or you could pick someone you’ve seen in real life
or a movie. Really get into the body of the character and try to physicalize him.
Also, use your voice in interesting ways. Whatever the other person chooses as a
character, make sure you choose the exact opposite so you will have a conflict. For
example, if I am the clean freak, you would choose the slob.
Two choices work well for comedy:
First, choose to play every detail that is exactly like your specific character.
(Do everything a real old lady actually would do in great detail, for example.)
Second, choose the exact opposite of who we think you would be in the situation
(the Queen of England working at a fast food restaurant).
B. Where (setting)
Create where you are very specifically. Choose someplace interesting. Don’t ever
talk about the setting, but show us instead. For example, don’t tell me you see the
ocean, but splash water on someone.
C. What (conflict, or “the game”)
The conflict is so important that we call it “the game.” You can’t have a scene
without a conflict. This rule is going to save your tush in any improv scenario. As
soon as you establish your characters, whatever the other person does that you
notice first irritates you. Once you are obviously irritated by it, you have
basically told the other character “the game,” and he does more of it. Always allow
the conflict to heighten and move forward so it grows and grows.
2. Say “Yes, and…"
The “Yes, and…” rule is one of the most basic rules of improv. It means that
whatever has been established, you must agree and move it forward by adding new
information.
3. No Negation
That leads us to the next rule: Never negate someone else’s reality. For example,
if Bob pretends like he has found $100, you would not say, “No you didn’t.”
4. Everything Affects You
A simple trick to always have something going on is to think that everything the
other person does drives you crazy. And always just go with what’s right in front
of you. Don’t try to make some amazing plot work out. The little truths that just
happen are the best. Pay more attention to the other person than you do yourself.
5. Physicalize
This is what I yell out most as I am coaching improv: “Physicalize!” “Use your
body.” “Show me, don’t tell me.” Plus, if you move, your imagination gets unlocked
and something will happen. You don’t even need to know what you are going to do.
Just start moving and it will turn into something.
What Not to Do During Improv
Don’t tell a joke.
Don’t ask questions, as they usually don’t move you forward.
Don’t get married to an idea you think is great after something else has been
started. When working with more than two people in an improv scene, don’t try to
start a new conflict when everyone else is already dealing with one.
Don’t hog the action (it’s a back and forth game).
> Voice
> The Effective Voice
> Easing Out
> Controlling the Breath
11-15 - KRISTHELYN BOCA
> Effective Use Of Voice
> Quality
> Pitch
> Volume
> Pause and Rate
16-20 - GABRIELLE BERDAN
> Diction
> Vowel Sounds
> Consonant Sounds
> Pronunciation
> Voice and Diction in Acting
21-24 - LORRAINE BENOMAN
> Play Directing
> Director's Major Responsibilities
> The Stage Map
> Other Info to Know