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Drama and Theatre Studies
         Unit 2
     Movement Objectives
Preliminary Work
• Simultaneous solo work:
• Find a space. Shut your eyes and imagine you’re a
  character who has a strong statement to say to another
  character standing a few metres away from you. (only 1
  or 2 sentences)
• Open your eyes and make the statement. Use any
  movement you feel is appropriate – may be a step
  forward, or a gesture etc.
• Now make the statement again with just one main
  movement only. Any subsidiary movements need to be
  reduced or removed. Repeat the statement with
  simplified movement.
Continued...
• Everyone now thinks about their statement
  again. This time, a stronger impulse stops you
  making the statement just in time. When
  putting this into action a clear intention as
  well as a change of mind should be evident.
• Repeat this exercise but this time the
  intention and change of mind should be
  defined by one clear movement or gesture
  each.
• Discuss the work accomplished so far.
Discuss:
• Why should a character move at all? If a character is in
  harmony and balance with life, would the character
  move?
• What forces tend to make the characters move and
  what forces tend to block or check movement?
• What forces tend to move characters forward? What
  forces tend to move charters backward?
• As well as external movements, are there internal
  movements? If so give an example.
• Are internal movements directional?
• Is there ever such a thing as a still character?
• Is it possible to move and remain neutral?
Guide to exercises
• No exercise is designed to prevent micro
  movements of the body. Fluidity of movement
  has to remain.
• We are attempting to match the fluidity of
  movement to the fluidity of thought.
• Thought processes of the characters need to be
  led by strong objectives.
• Hopefully everyone's understanding and
  appreciation will grow as a result of experiencing
  the execises.
Core exercise- in pairs
• Create and act out a short scene where both
  actors express a clear intention with a limited
  number of movements – 3 or 4 is sufficient.
  Each one of these movements has a single or
  clear thought or a feeling motivating it.
• Not mime – the movements are linked directly
  to speech.
Follow up work – in pairs
• Create and act out a fully developed language
  based scene in which every movement and
  action has a strong and understandable
  purpose. The number of movements are
  unlimited, but try to get rid of subsidiary
  movements, gestures etc.
• Those movements that remain need to
  communicate the characters conscious or
  subconscious decision making.
Script for the scene if needed
• A: What are you doing here?
• B: Waiting for you to come back
• A: I think you should go. I want you to leave now,
  please.
• B: I only what to explain to you what I meant,
  why won’t you give me a chance?
• A: I’ve heard it before. You’re a liar, you can’t help
  yourself. You’re pathetic.
• B: Who needs you anyway? Not me. See you
  around.
Follow up to core exercise
• Repeat the exercise as before, this time the
  movements should be as subtle as possible.
  However they still need to be clearly
  communicated.
Script for the scene if needed
• A: What are you doing here?
• B: Waiting for you to come back
• A: I think you should go. I want you to leave now,
  please.
• B: I only what to explain to you what I meant,
  why won’t you give me a chance?
• A: I’ve heard it before. You’re a liar, you can’t help
  yourself. You’re pathetic.
• B: Who needs you anyway? Not me. See you
  around.
Variations – in pairs
• Without making a direct movement A has an impulse
  to move towards B, or to react to B by making a
  movement, or gesture. This is checked or blocked by a
  second impulse. The 2nd may originate from a lack of
  confidence, embarressment, self control , kindness etc.
• A has to generate these two impulses – one to
  communicate to B and one to prevent that
  communication. B is asked to watch and detect if it is
  possible to understand what B is doing. Swap and
  repeat
• Create and act out a short scene which uses a set of
  impulses as its climax.
Applying the exercises to your work
• These exercises were created to assist
  students in their audition pieces, normally
  monologues just like you are doing at the
  moment.
• Further reading can be found in the chapter
  on Restraint and Control in Konstantin
  Stanislavski’s book ‘Building a Character’

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Unit 2 movement objectives

  • 1. Drama and Theatre Studies Unit 2 Movement Objectives
  • 2. Preliminary Work • Simultaneous solo work: • Find a space. Shut your eyes and imagine you’re a character who has a strong statement to say to another character standing a few metres away from you. (only 1 or 2 sentences) • Open your eyes and make the statement. Use any movement you feel is appropriate – may be a step forward, or a gesture etc. • Now make the statement again with just one main movement only. Any subsidiary movements need to be reduced or removed. Repeat the statement with simplified movement.
  • 3. Continued... • Everyone now thinks about their statement again. This time, a stronger impulse stops you making the statement just in time. When putting this into action a clear intention as well as a change of mind should be evident. • Repeat this exercise but this time the intention and change of mind should be defined by one clear movement or gesture each. • Discuss the work accomplished so far.
  • 4. Discuss: • Why should a character move at all? If a character is in harmony and balance with life, would the character move? • What forces tend to make the characters move and what forces tend to block or check movement? • What forces tend to move characters forward? What forces tend to move charters backward? • As well as external movements, are there internal movements? If so give an example. • Are internal movements directional? • Is there ever such a thing as a still character? • Is it possible to move and remain neutral?
  • 5. Guide to exercises • No exercise is designed to prevent micro movements of the body. Fluidity of movement has to remain. • We are attempting to match the fluidity of movement to the fluidity of thought. • Thought processes of the characters need to be led by strong objectives. • Hopefully everyone's understanding and appreciation will grow as a result of experiencing the execises.
  • 6. Core exercise- in pairs • Create and act out a short scene where both actors express a clear intention with a limited number of movements – 3 or 4 is sufficient. Each one of these movements has a single or clear thought or a feeling motivating it. • Not mime – the movements are linked directly to speech.
  • 7. Follow up work – in pairs • Create and act out a fully developed language based scene in which every movement and action has a strong and understandable purpose. The number of movements are unlimited, but try to get rid of subsidiary movements, gestures etc. • Those movements that remain need to communicate the characters conscious or subconscious decision making.
  • 8. Script for the scene if needed • A: What are you doing here? • B: Waiting for you to come back • A: I think you should go. I want you to leave now, please. • B: I only what to explain to you what I meant, why won’t you give me a chance? • A: I’ve heard it before. You’re a liar, you can’t help yourself. You’re pathetic. • B: Who needs you anyway? Not me. See you around.
  • 9. Follow up to core exercise • Repeat the exercise as before, this time the movements should be as subtle as possible. However they still need to be clearly communicated.
  • 10. Script for the scene if needed • A: What are you doing here? • B: Waiting for you to come back • A: I think you should go. I want you to leave now, please. • B: I only what to explain to you what I meant, why won’t you give me a chance? • A: I’ve heard it before. You’re a liar, you can’t help yourself. You’re pathetic. • B: Who needs you anyway? Not me. See you around.
  • 11. Variations – in pairs • Without making a direct movement A has an impulse to move towards B, or to react to B by making a movement, or gesture. This is checked or blocked by a second impulse. The 2nd may originate from a lack of confidence, embarressment, self control , kindness etc. • A has to generate these two impulses – one to communicate to B and one to prevent that communication. B is asked to watch and detect if it is possible to understand what B is doing. Swap and repeat • Create and act out a short scene which uses a set of impulses as its climax.
  • 12. Applying the exercises to your work • These exercises were created to assist students in their audition pieces, normally monologues just like you are doing at the moment. • Further reading can be found in the chapter on Restraint and Control in Konstantin Stanislavski’s book ‘Building a Character’