about theater auditorium and different acting techniques

1. What are the types of theatre
stages and auditoria?

2. Proscenium stages
• Proscenium stages have an architectural
frame, known as the proscenium arch, although
not always arched in shape. Their stages are
deep and sometimes raked, meaning the stage is
gently sloped rising away from the audience.
Sometimes the front of the stage extends past
the proscenium into the auditorium. This is
known as an apron or forestage. Theatres
containing proscenium stages are known as
proscenium arch theatres and often include an
orchestra pit for live music and a fly tower for
the movement of scenery and lighting

3. Thrust stages
• As the name suggests, these project or
‘thrust’ into the auditorium with the audience
sitting on three sides. The thrust stage area
itself is not always square but may be semi-
circular or half a polygon with any number of
sides. Such stages are often used to increase
intimacy between actors and the audience.

4. Theatres in-the-round
• These have a central performance area
enclosed by the audience on all sides. The
arrangement is rarely ‘round’: more usually
the seating is in a square or polygonal
formation. The actors enter through aisles or
vomitories between the seating. Scenery is
minimal and carefully positioned to ensure it
does not obstruct the audience’s view.

5. Black-box or studio theatres
• These are flexible performance spaces
which when stripped to their basics are a
single room painted black, the floor of the
stage at the same level as the first audience
row. Usually these spaces allow for the
temporary setup of seating in a number of
different configurations to enable a wide
variety of productions to be presented.

6. Open air theatres
• These are outdoor theatres that do not
have a roof, although sometimes parts of the
stage or audience seating will be covered.
These stages may make use of the natural
light as it changes during the day, particularly
sunset.

8. Important Acting Techniques
• Lee Strasberg’s Method
In this method, actors should intensify their connections to the work by imitating their character’s experiences
within the context of their real lives. By doing this, one should be able to reach a greater understanding and a
richer connection to the emotional states of their characters.
• Meisner Technique
The Meisner Technique is based around the concept of “truthful acting.” Sanford Meisner, who pioneered this
method, encouraged his students to live truthfully under any given imaginary circumstance. The approach to
this training is having the actor act on their emotional impulses – essentially, leading with their heart as
opposed to their brain.
• Eg: Jack Nicholson, Allison Janney
• Michael Chekhov
Michael Chekhov created a famous “psycho-physical” technique which draws on physical actions and mind-
body connection to create a sensual approach to the character. It’s about letting go of everything when you
enter a creative space so that all the preconceived fears and doubts you have, are overcome by just the
character’s mind frame.
• Eg: Marilyn Monroe, Johnny Depp

9. • Stanislavski’s System
The Stanislavsky method requires that an actor use his emotional memory when approaching the work. This requires
an actor to recall past experiences and memories and bring them into any given scene or character they are bringing
to life. Theoretically, an actor should ask themselves: “How would I react if this was really happening to me?”
• In this method, a role is broken down into tasks and actions. An actor considers the character’s given
circumstances, including:
• Who Am I?
• Where Am I?
• When Is It?
• What Do I Want?
• Why Do I Want It?
• How Will I Get It?
• What Do I Need To Overcome?
• Classical Acting Technique
• Classical acting is a term that encompasses a range of acting techniques being used together. Its focus is on every
element of the actor’s instrument – the body, the voice, the imagination, and the actor’s ability to analyze the
script and embody their character.
• Few examples of actors and the techniques they use: Helen Mirren, Maggie Smith.

10. • Method Acting Technique
Designed to make the actor’s performance emotionally as realistic as possible. Actors are encouraged to use their own
experiences in performance. This affective memory technique involves recalling a particularly strong emotion from your
past, resulting in real, unaffected emotion.
There is a widespread misconception that method acting involves immersing oneself in the role by staying in character
off stage or off-screen. A few method actors, like Daniel Day-Lewis, use this technique, but it was employed by Strasberg
in his teachings.
Eg: Daniel Day-Lewis, Robert De Niro.
• Viola Spolin Technique
Viola Spolin’s technique is based on improvisation. She called her exercises Theatre Games. These games were designed
to encourage actors to use spontaneity on stage, making choices as they would in real life.
Eg: Gene Wilder, Victor Garber

11. • Uta Hagen Technique
Uta Hagen also built upon Stanislavki’s technique. In this method, Hagen uses substitution, a practice similar to
emotional memory where actors use personal events in place of the fictional events within the script. Hagen believed
that this practice would create a truly realistic emotional reaction.
• Eg: Steve Carell, Tina Fey
• Practical Aesthetics Acting Technique
Practical Aesthetics is based on the practice of breaking down a scene using a four-step analysis that entails the
following:
• Literal – The most basic description of what is happening
• Want – What does one character ultimately want the other actor to say or do
• Essential Action – What the actor wants within the scene. It is necessary to understand that what the character is
doing and what the actor is doing are separate.
• As If – As if relates to the “essential action” to the actor’s own life. For instance:
• “Essential Action” – To retrieve what is mine. “As If” – It’s as if my mom has taken away my favorite piece of candy that
I was going to give as a gift. I need to retrieve it because it is mine. This step is a memory device, a spark to involve the
actor in the scene. It helps the actor escape the fiction, find the truth, and apply it elsewhere.