Method Acting Essay, Research Paper

Method ActingJennifer Farrell There are many diverse methods and attacks to moving, each histrion uses thethings he has learned and creates his ain alone manner of playing and construing a role.Using the things he has learned, he can happen his ain failings and strong points andtherefore making this method that belongs to him merely. But before the histrion can larn hisown method, he must analyze many other methods to the attack of moving. There aremany different methods of moving. One of the many methods is called presentational playing. When utilizing thisapproach, an histrion will analyze his character and & # 8220 ; present & # 8221 ; the character by miming theactions this character would do, along with the character & # 8217 ; s address, tones, gestures, andmannerisms. Sometimes an histrion utilizing this method will really & # 8220 ; experience & # 8221 ; the character & # 8217 ; semotions. An histrion must develop this character during the dry run & # 8217 ; s so that he canreproduce the same effects for the public presentation and cognize how to remain focussed and remainin control of the characters actions and cognizing what to anticipate. This method requiresmuch attending to voice and motion, the major tools used in this method. Another method is called representational playing. In this method, the actoractually tries to set himself in the character & # 8217 ; s topographic point, experiencing what the character would experience, and sing his ideas and emotions. Even though motion is of import in thismethod, more accent is put on the existent feelings and emotions, as though you reallywere in this character & # 8217 ; s topographic point. Internal portraiture is really of import while portraying acharacter utilizing this method. In contrasting the two methods, it comes down to the fact that when usingrepresentational playing, an histrion uses the psychological feelings and emotions of thecharacter ; in presentational playing, an histrion uses the gestures, words, and idiosyncrasies, portraying the external features of a function. Both methods present the truth in eachcharacter, both observations of nature, and both breathe life into a character on stage.The ends are the same for both methods, that is to do the character become alive onthe phase, to allow the audience experience the characteristics of the character and truly cognize whothe character is. These methods differ merely in the manner that they make it happen.Presentational moving mimics what it sees in nature, while representational attempts to recreatewhat has happened. While each attack to moving is merely every bit good as the other, many people argueabout which is superior. Some people say that a individual who acts utilizing the presentationalmethod would be suited better in portraying a period drama, while an representational actorwould be better off in a modern drama. Then you find an presentational histrion stating that hecan portray a modern character, merely as a representational histrion says that he can make period

dramas. It seems

that there are many opinions surrounding the abilities of the actors of eachmethod.An actor will take things that he likes from different methods and discard what hedoesn’t like until he can come up with his own system of acting. While it helps to knowdifferent kinds of techniques, an actor must take much time to study each, for an actor willbecome confused by throwing different methods together at once. An analogy of thiswould be it you had a beginning painter and you taught him how to apply paint severaldifferent ways all at one time, there would be an odd mixture of strokes, taking away fromthe true idea of the painting. One must take there time in order to create the perfectmethod for themselves. While the aim of all actors is the same, the approach is different for each actor.There goal is to put on a performance where the audience will believe the story andbecome involved. This does put on a problem though, unlike other types of artists, actorscannot just do what they want, they must decide along with the other actors how to put onthe play. A cast is more like a team, all working for one goal, but each getting there inthey’re own way. If a cast doesn’t function as a team, than a performance won’t get to thegoal of getting the audience to believe that it is real. There are many factors that can affect the performance of an actor. One of these isthe physical aspect of the playhouse. An actor must adjust to the size of the theater, thelight and how to make his performance as strong in certain conditions. Anotheradjustment is the different styles in the material that an actor uses. Characters change aswell as the changes in the writing style. The theater allows a playwright to experimentwith new ways to interpret to the audience the characters that he portrays in his writings. Drama has changed to and expression of experience, from drama as a story.Aristotle had a contention that plot is the most important element in drama, however,most playwrights don’t support this as much as they do dialogue and characterization asthe main elements of drama. The focus of play’s have gone from using characters to tell astory, to trying to reach the inner thoughts, feelings, and fears of each character, to findout what makes each character tick, what there motivations are, and how to make it clearto the audience how to understand each one, to see them as people, rather than a pawn ina pattern of predictable behavior. Ibsen and Strindberg are considered to have begun the era of modern drama.They’re plays were perceived as “superb demonstrations of character revelation andinsight.” There plays were the beginning of a new world. Many things were going on atthat time, and the characteristics in their play’s seemed to have the same feel as the feelingsof the people who were living through that time. By observing nature, they could findtruth in each character, bringing it to life.