Unit(s): Stage Movement
Purpose:
To explore the various purposes of movement To understand the basic principles of movement To apply these basic movement principles to real stage movement problems
Objective:
The objective of this unit is to understand the fundamental necessities of stage movement used to interpret mood, character, stage dressing, power, and rhythm. Various principles of movement will be explored for the student to experience the usefulness of movement in developing a stage presentation.
The student will also understand the importance of movement by learning how to change a theatrical statement of a stage picture.
The student will learn the concept of blocking to interpret the script through movement.
Materials:
- Movement: Purposes and Principles handout. (This handout is optional for all students. The exercise may be executed with the instructor having the only copy.)
- Ideally, a large movement area to work on is needed, such as a stage or even a gymnasium.
- Students and instructor should dress in comfortable clothing appropriate for freedom of movement.
Procedure:
- For each of the purposes of movement listed, have one or several students develop an improvisation, focusing on that purpose. (Example: mood - a group of people lost in a dark cave. Example: character - eighty year old in a rest home.)
- For principles of movement, simply use students to illustrate each. (Example: an actor crosses to answer the phone on the desk. This is an example of crossing toward the objective point.)
NOTE: Handout taken from Rehearsal, pp. 173, 175-176
Purpose of Movement
Principles of Movement:
- You usually cross toward the objective point.
- Always move in character.
- In general, cross on your own lines.
- Your speech may be broken while you cross behind others.
- When two cross together, the speaker usually walks upstage and slightly in advance of the other, turning head downstage to speak.
- When several enter in a group, the speaker enters first.
- To open an area for an important character, move smoothly.
- Counter cross. When a character in UL crosses stage to an area on stage R, a character at R may counter cross to some area on L to retain good balance.
- Movements on stage seem stronger than the same movement offstage.
- You may address a part of your speech to a character across the stage, then walk toward that one as you speak.
- Relationship often dictates a cross.
- There are some emphatic don'ts: don't stand in a straight line; don't bunch; don't stand in a semicircle.
- A player may drift, edge, walk, or ease into a place.
- Cross at the correct instant so that speech is completed exactly with movement. Rehearse carefully to time all to the finish.
- A cross either before or after the line can emphasize it.
- Usually turn toward rather than away from the audience, unless this involves a wide awkward turn.
- When sitting down, either turn and go to the chair or step back until its edge is against the back of your knee.
- Backing a step or two toward an exit just before leaving shortens the distance to walk. You may speak, turn, walk to the door, finish your speech.
- Taking stage and giving stage should become second nature. The actor on whom interest is centered usually - that is, moves into a more desirable position; others near that spot give stage by backing away, or walking to another place.
- "Assume your character and walk twenty paces before reaching your stage entrance," is an old principle and a good one. Any entrance is important. Make it seem right.
Taken from Rehearsal. pp. 173, 175-176.