The Actor Essay, Research Paper Moe Minkara The Actor What is acting, who are people which we can name actors? In fact we are all actors. Every single human being is an actor in his everyday life. Yet acting can be subdivided into two parts depending on a professional basis or daily one.
The Actor Essay, Research Paper
What is acting, who are people which we can name actors? In fact we are all actors. Every single human being is an actor in his everyday life. Yet acting can be subdivided into two parts depending on a professional basis or daily one.
Within the professional acting there are two major categories, Imitation and the art of becoming. Imitation, is when an actor tries to mime or imitate a certain character by talking the same way and making similar physical gestures that the character him self would normally do. Yet imitating is not enough because although the actor mimes a character, he does not feel like him thus making it hard for the audience to believe what they are seeing. Therefor the second most important step is for the actor to believe and to become the character. For him to do so, he has to carefully study the character he wishes to act. He should study every single detail, full embodiment, from the way the actor moves to the slightest tic he may have. Sometimes actors should live out their parts in real life, which helps them to get used to and be comfortable with whom they “are”.
One of the most important factors in acting is Virtuosity, which is in way or another to excel in one or more thing such as the use of ones voice, or body. Virtuosity brings out the magnificence in a character or simply in a person. The second most important aspect is magic that brings under it “presence”, “magnetism”, and “charisma”. Magic is felt, and is considered more of a feeling or a vibe that the actor sends to the audience.
In order to become good actors, one has to understand and be able to use ” the actor’s instrument “. The actor’s instruments can be best described as controlling ones mind and can be subdivided in two main parts physiological and psychological. The most important factor under physiological instrument is the voice, which includes how to breathe, speak, project and control the many powers that one can control with his voice. Furthermore, another main factor to be considered is the physiological instrument. This instrument is used to control ones physical relaxation, muscular control, economy of action, and expressive rhythms and movement patterns. All these help the character maintain an act or hold stage throughout an entire performance. Imagination and surprise are very important weapons or power for an actor. Helping the actor to bring reality and spontaneity to the stage.
Yet the most important of all is discipline. For the life of an actor is not a very easy life to lead. They require a lot of work, concentration, and patience at the most obscure hours of the day. They should be in control of themselves and know how to deal with people and most importantly how to deal with his co-workers. Being a disciplined actor does not mean slavery, yet he or she is required to know how to work rigorously to develop his or her physiological and psychological instrument.
Furthermore, another important factor is the actor’s approach. Under this category, there are two traditional methods that actors usually follow. The first is the external or technical and the internal or truthful. The external method is when the actor acts out physically the role without regard to personal feelings. Believers in such an external approach treat the actor’s performance as an analogue of reality rather than a direct embodiment of it.
Contrary to this, the internal methods focus on the actor’s personal assumption of his character. These internal methods tend to expand th psychological dimensions of a performance and to help assimilate the reality of the character being played. ” you must live the life of your character on stage “.
Every actor has a certain routine to follow composed of three stages, the auditing, rehearsal, and finally the performance. The first is the way the actor gets the role. The second is the way the actor learns it. The last is the way the actor produces it.
In auditioning, it is vital for the actor to feel at ease with handling the role, naturalness of delivery, physical. Vocal, and emotional suitability for the role. All these with a little charm are a must in order for him/her to produce the “magic” which is required for the role.
In rehearsing, the actor needs to learn by heart his role, and has to be aquatinted with the character and try his/her best to embody the character in order to reach the ultimate objective of the role. The rehearsal period is a time of experimentation and discovery.
The performance, needless to say is the reward for all that the actor has been through. Yet it is not a joke and should never be taken lightly. For a brilliant rehearsal can crumble before an audience and vice-versa. An actor should control his stage fright and let himself be taken away with his performance with no second thoughts. Presence is the most important factor on stage, and for presence to exist, the actor must be very confident of what he is and what he is doing on stage.
Most importantly a performance is not a one way statement given from the stage to the house, it is a two way participatory communication between the actors and the audience. The actors portray their movements and laughs, while the audiences portray their feedback with their silence, laughter, applause and attention.
It is very essential to know that an actors performance does not end with the play, it goes on until after the curtain call and most importantly the actor should learn from one performance and use his acquired knowledge in his next performance.
In conclusion, I can say that acting is a life style on its own. As easy as it may seem, the life of an actor is very tough and not always as rewarding as one expects it to be. ” A lifetime professional career in acting is the goal of many but the accomplishment of very few “.
History of theater
The actor’s guide
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