Art and the Body
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Art and the Body

The most important tool for the actor is his body.

Art and the Body

Perhaps the most important tool for the actor is his body. The body enables free, fluid movement throughout the stage and three space, only stopped by personal or human limitations – although if not taken care of, the body can prove more of a hindrance to the work then anything. However, the actors body isn't hardly different from the body of someone unaware. And when I say unaware I mean someone not conscious of their day-to-day movements and fluidity of movement, or lack thereof. The actor before taking on work, must be aware of his own personal movements and idiosyncrasies so that these movements can be separate or be called upon perhaps when creating a character and taking on the role. You, the actor, or distinctly different from the people depicted in the pages of our playwrights work, and it is your job to faithfully display them on the stage, truthfully. The let it be noted that the characters on the page and the actor as man himself are inherently alike. The circumstances of the character rhyme with our own life, while not exactly the same it is possible for one to see one's own life inherent in the man in the text itself. Though you may not know what it is to kill another, you know the feeling of intense hatred and it is the understanding of that that you can therefore bring to the stage. And that is where the actors personal living life comes through in our work. This in turn means the characters movements as well that you must be able to tactfully employee. How can you to pick the movement of Lier when you walk the stage as Loman or worse yet your self an an inward pedestrian. And to be pedestrian in the theater is a sin; nothing in art is pedestrian, or ordinary or perhaps a term that I learned in a class myself - nothing in the theater must be middle-class, everything in theater must be elevated to its highest form of breathing life - the highest potential given onto it.

To do this we must recognize that in our day-to-day dealings we put particular stress into different parts of our bodies. While some may walk with stress on the ball of their left foot so I may walk as if they were gliding on air. And both movements lend a different interpretation to the person doing the movement. While one seems authoritative and domineering, the other is light and playful, respectively. The actor must be aware of Mr. study of oneself and through study of others. Through observation and practice. It is through movement and through voice that he character emerges, someone entirely different and separate from yourself. These movements invoices land of stories to your character. Why does she move in that particular way? Why does he live in that British matter, why does your voice raisin pitch and then lower in moments of height and tension, all these questions are raised simply from character work necessitated by the need for the study of movement and voice by the actor. Is of vital importance for the actor to be able to create a living being separate from their own reality it is not enough to simply be yourself on the stage your job as the actor is to tell stories and convey ideas greater than yourself so therefore you must be larger than yourself. It is not enough to be simply ordinary you, you must elevate yourself to a higher level. This is true not only in your work so that the characters you create or distinctly different indistinguishable from yourself to the point where when the audience sees you on the stage they cannot know who you are in true reality that is the level of work the actors must aspire to. Vitally important you must lift yourself in your own life to greater levels you must look at life without judgment objectively and be able to find moments in your life that you can improve upon and raise your self to his stature unlike the common man for nothing must be ordinary and if it is the art and acting that you choose to pursue then you yourself cannot afford to be ordinary. too many walk about this great expense as ordinary individuals, what happened to greatness? It was said by Stella Adler the actors were the last of the aristocratic class, maybe sell and perhaps just late so. A class of wealth and power now given on to the poor actors,Who are noble in spirit and cause and humble in the weight of the pockets your responsibility not to their wallets in the accumulation of wealth for that is misguided but to the people and to humanity.

For myself I've had some peculiar experiences working with my body in which I have learned about myself, and those insights in my work. Prior to my work on the stage, I had a very rigid and Steve moment, I still do in some ways, but only when I am not noticing when I am not truly aware of what I am doing. The rigidity of my movement due to disservice to the work because when the body is stiff like a board how are you in fervor, how was that supposed to leave the body when it is being blocked by would my stiffness my rigid structure that does not allow for the free movement of life. It is impossible, it is stuck. Spontaneous and emotive movement is needed. Movement with purpose, heightened by the need provided by the text. I would spend many long hours observing my walk, noticing how I put stress into my right foot when I walked, in a stopping matter, rushed almost. Noticing how I often speak from the brow, raising my brow in times of tension or excitement. Noticing my tendency to scratch my head and wrinkle my face in a moment of frustration or agitation, similar to that of my father. Noticing how I quite often run my index finger from the bottom of my lip to the top, bring it closer to my nose when I am sitting in silence. And I have it I picked up many years ago. And perhaps most common of all I slouch that I have inherited. The slouch is terrible for the theater because good posture is needed not only for you to allow air to leave the body fully without blockage it is needed because of the principle of it the fact that it keeps the spine online it keeps the head call so we can properly rest on the shoulders without tension and allow for unfettered movement of both your body and your voice. When there is tension there is inconsistency in work, connector cannot allow for there to be inconsistencies and in discrepancies in their work. Tension is the adversary of a good work in the theater. What is can be learned and put into practice careful observation of self and to answer your vacation of others. And who knows what exactly you might pick up the study it very well may prove vitally useful during the time you are on stage.

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This article has not been reviewed by Odyssey HQ and solely reflects the ideas and opinions of the creator.
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