The Basic Elements of Creative Drama forTheater Arts students

1. THEATER ARTS: BASIC
ELEMENTS OF
CREATIVE DRAMA
LESSON 1

2. Space
Line
Shape
TextureColor
Moveme
nt
Rhythm
BASIC ELEMENTS OF
CREATIVE DRAMA

3. SPACE
Refers to the field in which
the art exists.
It is an element that the
artist works with.
Without space, we would not
be able to discern the ideas
being expressed.

4. To the actor, it refers to both
his inner space (thoughts and
feelings) and the outer space
(the where he moves around)
In all of the art forms space
may be occupied: positive and
negative space
SPACE

5. Positive Space – there is
something in the space
or it is occupied
Negative Space – empty
space or spaces
unoccupied by matter
SPACE

6. Line, therefore, has direction,
since motion leads towards
something. This is also true for
an actress on stage.
The moment the actress moves
across the stage, she has to draw
a line and we perceive motion
towards a direction.
LINE

7. Line by itself can have different
qualities; the texture of line to the
actor on stage differs depending on
the character he/ she portrays.
Ex. An old weak man in his late 60’s
walking on the street asking
someone for food.
LINE

8. As the line moves, it creates shape
Shape varies in form. If straight and
precise lines or edges are used,
geometric shapes are produced.
If round, soft and irregular, organic
or biomorphic forms are created.
The quality of expression also differs
with shape.
SHAPE

9.  It refers to the tactile quality of surfaces.
 We refer to certain characters as textures.
 Ex.
 “plastic” - this refer as a person who is
artificial or synthetic
 The person can be described as being
gentle and warm or firm and cold. It is
open to interpretation and we begin to
relate people with traits and create signs
and symbols for use
TEXTURE

10.  It is also refer to feelings.
 Color is used to express their impressions
and feelings
 Color is culture-specific
Our culture has a particular color taste
brought about by the way we are or the
way we live. Because we live in a tropical
climate we tend to favor and express
ourselves through warm colors, reflecting
sunny and warm environment.
COLOR

11. It refers to he energy impulses
that the art form carries. There
is an energy inherent in the form
which has a dynamic
relationship with the world
outside, creating tension and
relaxation

MOVEMENT

12. It expresses pulse of life of
the art work. Certain
emotions or situations have a
different rhythm than others.
RHYTHM

13. Space
Line
Shape
TextureColor
Moveme
nt
Rhythm
These elements are parts
which inter- relate to
complete the whole. A
combination of these elements
produce the art form that will
project a particular message
depending on how the parts
were put together

14. THE
ORGANIZATION OF
THE ARTISTIC
ELEMENTS
LESSON 2

15. THE ORGANIZATION OF THE ARTISTIC
ELEMENTS
Selectivity
Variation and Contrast
Focus and Subordination
Proportion and balance
Movement and dynamism
Logic
Unity and Harmony
Clarity

16. The
Organization
of Artisitc
Elements
Selectivity
Variation &
Contrast
Focus &
Subordination
Proportion &
Balance
Movement &
Dynamism
Logic
Unity &
Harmony
Clarity

17. This refers to the selection of the
elements to use – what line,
color, shape, texture, sound,
movement, and rhythm – to get
specific qualities needed the
form for it to express or suggest
an idea or concept
SELECTIVITY

18. The art form has an over-all
theme and the parts carry
variations of the same theme,
which may be in contrast to
one another.
Contrast heightens the
difference and emphasizes a
point
VARIATION &
CONTRAST

19. A good art form focuses on a point.
There is something which is
emphasized to draw the viewer’s
attention to a particular idea. To do
this, it is necessary that other parts
of the form do not compete for
attention with the focal point; in
fact, subordinating the other part is
necessary for any one part to be
empasized.
FOCUS AND
SUBORDINATION

20. Balance refers to the
distribution of weights in the art
form. This may be seen in the
use of the visual elements such
as line, color and shape, or on
stage in the weight of the spoken
lines or the distribution
movement.
PROPORTION &
BALANCE

21. Proportion needs to be
considered in balancing weights,
as for example, in deciding how
many elements and how much of
them should be used in creating
a particular form.
PROPORTION &
BALANCE

22. Dynamism refers to the excitement
created by the interaction of the
elements
The elements of space provide
tension or the push and pull forces
that the elements exert upon one
another. Since each element placed
on the work provides movement, this
contributes to the dynamic
relationship of the parts.
MOVEMENT &
DYNAMISM

23. There should be the reason for the
elements to exist. And as one
element is placed, so others follow in
logical sequence.
In designing for theater, there
should be a logical reason for putting
a chair on stage. “form follows
function.” – form is the logical result
od the function for which it is
created.
LOGIC

24. The main objective n creating
form is to achieve unity and
harmony. When parts contribute
harmoniously to he completion
of the whole, then unity is
achieved.
UNITY & HARMONY

25. To be expressive, the form needs
to be clear in its conception and
creation.
This is achieved when
superfluous and non-essential
elements do not obscure the idea
being put across.
CLARITY

26. THE QUALITIES
OF GOOD
PERFORMANCE
LESSON 3

27. THE QUALITIES:
Relaxation
Sincerity and Conviction
Sensitivity and Teamwork
Precision and Mastery

28. RELAXATION
 An actor is necessary for him to
know how to relax
This can only happen if he has
the discipline for this through
vigorous breathing and
stretching.

29. It is necessary for a qualitative
performance
The actor must be convinced of his
role and sincere in the portrayal of
the role.
Internalization of the character is a
must – meaning, he has delved deep
into knowing the character he is
portraying, in relation to the other
characters.
SINCERITY & CONVICTION

30. An actor who is concentrated in
his performance never loses his
cue and his character.
Concentration requires a lot of
discipline because it means
avoiding distractions and
zeroing in on studying and
portraying the role.
SINCERITY & CONVICTION

31.  One does not work alone in theater.
 There are more than one person in the
creation of a form – the designer, props
man, the lights man, the prompter, the co-
actors, they all work as a team.
 Members need to be sensitive to each
other.
 Onstage, a fine performance quality
results if team members are sensitive to
the needs of each other.
SENSITIVITY & TEAMWORK

32. Precision in a performance
refers to right timing, or the
characteristic rhythm of the play
to the contribution of each
member of the team to achieve
this end.
Mastery is achieved when
everyone does his work well.
PRECISION & MASTERY

33. THE BODY: AN
INSTRUMENT OF
EXPRESSION
LESSON 4

34. The painter has his brush,
the singer has his voice
and the actor has his body.

35. The way the actor moves, walks and
gesticulates, his mere presence on
stage convey a lot of meanings
Thus, it is important for the actor to
know his body so he can discover,
master, and control his bodily
expression

36. There are four (4) parts of body
movements according to the
concentration:
1. The head
2. The trunk
3. The legs
4. The arms

37. It is important to know the
boundaries of the body itself and
as it moves in space- the body,
within a space-field. Warm-up
exercises every session awaken
the body through breathing and
stretching, setting the tone of
the body.

38. EIGHT BASIC EFFORTS
This is defined by Rudolf Laban
Effort is an inner impulse from
which movement originates. This
can be isolated and expressed
physically, psychologically, or both.
Each effort has three (3)
characteristics: weight, direction,
and speed.

39. There are movements which
are fast or slow, straight or
curved, heavy or light,
depending on the physical or
psychological weight of a
burden
EIGHT BASIC EFFORTS

40. EFFORT WEIGHT DIRECTION SPEED
Wring Heavy Curved Slow
Slash Heavy Curved Fast
Dab Light Straight Fast
Glide Light Straight Slow
Press Heavy Straight Slow
Punch Heavy Straight Fast
Float Light Curved Slow
Flick Light Curved Fast
EIGHT BASIC EFFORTS

41. All kinds of movements, whether in
dance or in drama can be analyzed in
terms of efforts.
The clarity of expression of ideas can
be achieved when the effort is well
delineated because the body
articulates the idea visually through
movement and this can be perceived
by the viewer

42. The body, as an instrument of
expression, needs to be released
and become mobile but more
than physical release , the actor
must be conscious of its
possibilities and limitations in
order to express ideas, thoughts
and feelings as accurately as
possible.