THE IMPORTANCE OF BODY EXPRESSION IN THE ACTIONS
An actor must learn to make use of his own body. The detail, concentration and precision must provide the basis of their work […] The body with total response capacity is there to accurately express the actor’s intentions. It is important that movement work is never seen as a class activity or as an entity in itself.
In relation to the position of Dennis Ferrari, he states that an actor prepares his body to transform into many body forms or designs, depending on the character he will interpret. That is why I consider it essential that the actor/actress is able to activate his own subjective mechanisms, his imagination and creativity to devise a authentic body grammar, without the need to use a stereotype or reach the worst case, the mechanical.
Likewise, body education provided for the actor should not necessarily be a 100% sports or dance training. That is, these resources must be used, but it is not considered as something essential.
It should be noted that for body-expressive work a dramatic must provide, develop a vocabulary, but not a closed code, such as dance. Undoubted.
It is evident that the form makes the content, so it is important that it is born from oneself, it has to be original, unique, to come from the inner search and not in the previous way, without authority. Also, an actor prepares his body to transform into many forms or body designs, depending on the character he will interpret. That is why I consider it essential that the actor/actress is able to activate his own subjective mechanisms, his imagination and creativity to devise a authentic body grammar, without the need to use a stereotype or reach the worst case, the mechanical.
When reviewing the books of contemporary theater authors, such as Stanivsasky and Grotowsky. I realized that both have managed to visualize, in an objective way, the value of the training dedicated to the actor’s body work. Based on the extraction of physical exercises, from dances, acrobatics, gymnastics, etc. Only this practice will help you for your physical improvement of the actor. He also states that oneself must be the creator of his character, being aware of his body resources, since the entire body participates in each of his movements. But if there is that lack of flexibility, power or physical resistance, it will be difficult to transform into many figures or forms that are required to interpret a character or object, so it is necessary to be constantly training of the signs, perfecting the agility of the body andthus to be able to reproduce those signs without any difficulty.
Of course, to perfect this agility, we seek to eliminate the physical blockages of the actor, so several theatrical authors provided us with a series of exercises to be put into practice;However, it is not enough to be flexible, have resistance and strength. While the exercise prepares us for body control, but does not train us to ‘create”. On the other hand, training can be implemented as a resource or self-discipline for the improvement of body capacity and thus power, reaching sufficient intensity or speed, that the creative challenge requires it.
Therefore, what counts is not the exercise but the justification of the use of that exercise. That is, each exercise or technique has to be oriented to learning, with the purpose of improving the quality of the gesture and the creative process. The teachings are of no use, which the authors and theatrical teachers give us, if you do not put it into practice.
Leave feedback