Hey Actors,
We’ve made Movement a 500-level course to encourage theatre majors to take this course as a vital addition to your acting toolkit. Here are some of the reasons to consider THTRE 560 Advanced Movement.
- PHYSICAL CONTROL – the actor must have maximum control of their body in movement. How can we rid ourselves of physical habit and everyday movement on stage? How can we ensure that the physicality of a character comes from a clear and dynamic choice? Every gesture of the actor must have meaning and take on a heightened quality that is more real than real.
- CHARACTER TRANSFORMATION – the actor must disappear when portraying a character. How can we truly transform physically as well as capturing the emotional impulses of the character? What can the rhythm of a walk say about an inner life? With what part of the body does the character lead? Is there more fire or earth in the character’s movement? How can we write a character bio on our feet? By taking a physical approach to character creation we develop an understanding of universal archetype that can be tuned to the specific needs of each role – by asking what unifies us first we can then ask what makes us unique.
- COMEDIC TIMING – all actors must have an innate sense of rhythm. Comedy is the punch-bag of timing. The heightened nature of Commedia dell’Arte require an exacting focus, the results of which permeate all performance styles. Comedy provides a magnifying glass to human behavior and performing at this heightened level will train the “inner drum” of each performer.
- THE ACTOR AS CREATOR – the actor must have the greatest sense possible of their role in the telling of story. THTRE 560 helps actors understand all elements of narrative that includes character, dramatic motor, rhythmic mount and the dynamic of text. The focus of THTRE 560 is on students creating their own material, inspired by their understanding of the world and their interpretation of the techniques studied in class. These skills can be used to create work outside of the classroom.
- THINKING WITH YOUR BODY – Doing is understanding. How can we work from the outside in to convincingly portray emotion? Are there ways other than emotional recall to access the true spirit of a specific emotion? What is the shape of that emotion? Where do we find the dynamic of that emotion in nature? What color captures the essence of fear? How can the physical shape, rhythm of breath and gaze of the actor inform their inner life?
Operators are standing by. Join today! 😉