Week 8: "Enhancing Actor Performance: Gestures and Improvisation"

Compositions as Actor Communication versus Pictorial Communication

It is not the purpose of this week to take up an extended discussion of composition in terms of pictorial design. Rather, the intent is to view composition from the standpoint of director-actor communication. This presupposes that the only aspect of theatre that really matters is to move an audience through dramatic action and characters; therefore, the principal function of directing is to arouse actors to assume the positions that will be most effective in communicating appropriate imagery to an audience. As you grow more experienced, you will develop your own sense of the pictorial. At this point, you must learn all you can about its effect. The more you know about composition as the link between actor and audience, the better you will be able to communicate. Practice composition diligently from every point of view, because good direction is also good picture making.

GAME OF VISUAL PERCEPTION: COMPOSITION

1. Photos 1 through 8 illustrate full-stage compositions from basically a frontal position.

For Each Picture:

a. Identify the following in each photograph: body position, planes, areas, eye focus, line focus.

b. Can you see possible acting areas other than the ones being used? Explain your answer.

c. Are obstacle courses provided? Describe them.

d. Do you see the triangulation: size, length of legs, upstage apex, relation of the base line to the proscenium line if visible? Explain your answer.

2. Photos 9 through 12 show compositions in groups, not especially related to a front line. Answer some or all of the questions in the first Part of the Task. Additionally:

a. What character has the focus in each photograph and why?

b. Do you see how actors are tied to set properties? How is dramatic action conveyed through composition in each photograph?