Understanding Drama Approaches - Essay Example

Institution : xxxxxxxxxxx Title : Understanding Drama Approaches Tutor : xxxxxxxxxxx Course : xxxxxxxxxxx @2011 Introduction Drama can be understood using various approaches. This particular paper seeks to analyze the views of various authors concerning the techniques that can be used in the understanding of drama. The paper will also provide theoretical grounds that support the use of the techniques. Murray; Lecoq Murray attempts to present the complexity and richness that exists in theater through focusing on Lecoq’s pedagogy. Murray’s objective is grounded on providing a sense of flavor that Lecoq endeavored to introduce in theater through using various techneques. One of the techniques presented in the text is the push and pull technique. The techniques can be used to communicate a variety of stories. Murray (2003) highlights that the push and pull method is basically more useful in the context of psychological forms of stories or dramas, whereby the relationship between actions or physical behaviour and words are presented. For example the bodily discovery-sensation-of being pushed and pulled into irreversible destruction opens the door to a physical understanding of dramatic tragedy and the experience of being propelled-pushed and pulled-by the forces of one’s own destiny. The push and pull technique also works in commedia however it represents a contrast in the relationship between actions and words. Murray (2003) points out that; when applying the push and pull techniques in comedies, the main commedia characters are exposed to opposing forces within themselves. This therefore forms an essential aspect in the dynamics of movement .For instance Murray presents a commedia example where Captain pulls himself forward to show that he is brave in order to impress a lady; however minutes later he is pulled back by serious fear after he sees a mouse. Balance is another essential technique that Murray presents. Balance is used to provide communication concerning the story Shapiro, (1999) highlights that drama does not begin by placing an actor in the right position in order for them to function effectively but rather it begins with an encounter with the world. Murray (2003) further highlights that every encounter with the world creates a state of off balance. This is based on the fact that at ever moment we usually experience things that are new and unknown. For instance when actors negate their use of physical space by stepping in a backward direction, the balance will become unstable, consequently when a person moves off-balance tension is removed when the person is encountering the unknown. From this analogy what is evident is that the development of a story is governed by the different encounters with the world which may sometimes lack balance. According to Murray (2003) the dynamics of pushing and pulling exercise are beneficial for people to perceive their usual walking patterns; besides, people can learn the characters within the different theatrical styles from the pushing and pulling exercise. For instance pushed to the floor or against a wall—what at first was only a playful encounter may easily turn into a violent or passionate relationship, then the link between the push and pull begin to generate emotional states, will have been established. Another example is Garden—push and pull relationship between bee and flowers (bee gather honey) motion of flower (heavy, quick, slashing) The theoretical aspect presented by Murray is that movement provokes emotions. There is usually a powerful link between movement and emotions. As a result it is essential to not make a separation between the technique of movements and drama. Voice--the work of Berry and Linklater One of the essential contributions of voice is that it assists in creating tension in the story. A strong voice for instance gives an actor the feeling of presenting his personality to the audience as a person who always brings tension. Berry (1973) highlights that; in order to create tension in a story having a stronger voice is vital. As a result with a stronger voice an actor is able to bring about tension. Tension therefore becomes part of his emotional make-up and his way of communicating to the audience. Voice can also be used to give an elaboration to the audience about the character of a certain actor .This entails the voice having well defined vowels and consonants. For instance if an actor has an interesting voice, this can result to a situation whereby the audience are able to know how he is going to sound like and how his character is going to be. As a result the voice is essential in building the character of an actor in the sense that the voice has to be accurate in reflecting the physical presence that the actor is to represent. Berry (1973) therefore stresses the importance of actors working on their voices. He proposes singing as one of the excellent ways of stretching ones voice, due to the breathing that makes a person to utilize resonance in the head and chest. Most often acting requires one to be able to allow their voice to freely come out in order to display the character appropriately. Linklaster (2007) highlights the essence of freeing the natural voice as another essential technique. According to Linklaster oral communication which is propagated by the voice is the ‘’staff of an actor’s life’’. Once the natural voice is free, it will develop into artistic performance. As a result it is essential for an actor to naturally free their voice. Many theater performances use voice in various ways for instance in puppet shows, when the voice can be used in an extended way in order to give more life into the story. The use of words is also a useful technique in communication. Linklaster (2007) highlights that actors transform printed words into spoken words. However before the printed words are transformed into spoken words they are usually transmitted to the brain where they are processed into feelings, emotions, desires and images. The use of words is therefore useful in communicating relationships. For instance when people are in love they tend to use tender words towards each other a sign of close relationship. Words are also useful in character development. Linklaster (2007) highlights that when we talk we usually have a purpose behind what we are trying to say. When an actor is studying words in a text the images are implanted in his/her brain which further results to impulses bring born .The actor then understands the purpose of the words which are further manifested in the character they represent. Berry’s uses the relationship that exists between text and action is the theoretical aspect present. Without a doubt it is essential to carefully identify the relationship that exists between physical behaviour and words. In most cases there are two significant relationships between physical behaviour and words. One of the relationships is grounded on the congruent emotion that is reflected from the body expression and words and the other relationship is derived from a strong discrepancy between the character’s body and verbal language. Group work/composition--the work of Oddey, Spolin and Boal Oddey (1984) stresses the importance of group interactions in building relationships. When working together, it is essential to get to know each other. Oddey (1984) further argues that members of an acting group who are in the process of beginning to device a theater must be open to each other. Diplomacy is also another crucial aspect and every member of the group must invest something relating to their personality if the group is to fully communicate. This involves exercising communication, trust, concentration and sensitivity towards each other. Consequently after the group relationship is well built, the performance that is presented on stage will be well coordinated. For example Group dancing assisted a pack of wolves howl and like the wolves shape when they come on the stage the performance was interesting. Oddey (1984) and Spolin (1983) acknowledge the fact that problem solving is an essential technique when dealing with groups. Disagreements frequently arise when dealing with groups. The director is advised to present the conflict or problem in a simple manner. Simple clarification of the material is necessary in helping the story to progress smoothly. Sometimes problem solving can be done through simply writing the problems that arise daily on the board. For example ‘’Robert---good control of tempo, use different tempo (fast , slow, freeze in different situation), (strong, sustain, direction) Robert. ‘’ The use of images of transition is another theater technique that can be displayed through the use of groups. Boal (1998) highlights that; the technique is very simple and can be used in story development such as the use of performance to make politics. Foremost actors are asked to create a group status, an image that shows in a visual form, a collective viewpoint of a given theme. For instance in France during the past years of the industrial revolution the major theme was unemployment, in Portugal the theme was family while in Sweden the main theme was female/male sexual oppression. Groups were therefore essential in bringing out these particular themes .When watching the groups collectively, themes such as unemployment in France could be projected effectively through use the group image as opposed to when a single individual is used. The three authors Oddey, Spolin and Boal illustrate the knowledge of the importance of the theory of collectivism in drama performance. Collectivism involves the coming together of people in order to attain a particular objective. As a result the use of groups acts as a fundamental basis. Body --the work of Laban Laban focuses on the technique of body movement. Laban (1988) highlights movements are usually related to objects and people. When moving we usally create a changing relationship with something .The something can be a person, object or even parts of our own body. Laban (1988) highlights that the climax in relationships can be attained through body contact, which can be brought about by various body parts such as the face and the hands. For instance the hand performs most of the complex movements; in addition the actions of a single figure may result to a variety of situations. For example the hands are a natural instrument for gripping which brings about actual contact. The contact can be initiated by touching that from one direction, gliding, along any direction, transferring weight above an object, carrying and holding. For instance, drinking a cup of water---two girls shaped the cup; the action of cup can be defined as gliding. The sustained shape and combined with the sounds which the guy made that make the picture really impressed. Also in the end, after the guy finished his drink, his action gave us the image that he pinched the cup, as following, the ‘cup’ was out of shape with the change of girls’ shape. The two bugs with flexible, light action jumped into the cup, just gave audiences the impression that they are small and nimble. Also in the end, they came out from the guy’s mouth when the guy vomited, that’s also very funny. As a whole, the performance gave us very impressed vision. There was a pull ad be pulled relationship between the guy and ‘cup’, and according to Laban’s work, the two bugs with floating work actions, which are light, sustain and flexible. The relationship among them could be precisely analysis through the way the characters exchange looks, their reactions and how the move towards, or away from each other. And all of them put the energy into it so that is really wonderful. Laban’s emphasis on the concept of body is an essential theoretical factor based on the fact that the body is the most essential instrument in which man communicates and expresses himself. This can be backed by Bogart and Landau (2005) argument that it is the movement of the body that makes theater to be more practical and realistic. Bogart (reading: Landau) Borgat focuses on the source work technique. Bogart, (2001) source of work can be described as the time and activities performed prior to rehashing anything in order to interact both emotionally, intellectually, collectively and individually with the material to be presented before the audience. Borgat uses the technique to communicate the aspect of relationships. This is because during this particular time the director provides a similar time and space to collaborate with actors in order to find out their knowledge interests, dreams, reactions and interests about the material. Bogart, (2001) points out that the big question that a director should ask him or herself is how the collaborators (both the actors and the designers), feel about the material. By undertaking source work the actors and designers are able to acknowledge the fact that their input is essential. As a result they develop ownership of the material and are more committed to ensure that the material to be presented before the audience is successful. Bogart, (2001) knowledge’s of the importance of the theory of collectivism in drama performance through the source work technique. Collectivism involves the coming together of people in order to attain a particular objective. Conclusion The presentation above has provided an understanding drama approaches through evaluating various techniques such as the source work technique by Bogart, Body --the work by Laban, group work/composition by Oddey, Spolin and Boal, Voice by Berry and Linklater and push and pull technique and balance by Murray. References Boal, A, 1998, Legislative theatre; Using performance to make politics, London: Routledge. Bogart, A, 2001, A Director Prepares: Seven Essays on Art and Theatre, London: Routledge Bogart, A and Landau, T, 2005, The Viewpoints Book: A Practical Guide to Viewpoints and Composition. New York: Theatre Communications Group. Berry, C,1973, Voice and the actor , London, Harrap, p11-17 Laban , R, 1988, The mastery of movement , Plymouth: Northcote House.p66-75. Linklater, K,2007, Freeing the natural voice ;Imagery and art in the practice of voice and language, London : Nick Hern , p327-355 Murray, S, 2003, Jacques Lecoq, London ;Rutledge , p127-151, Spolin, V, 1983, Improvisation for theater : A handbook in teaching and directing, Evanston: Northwestern University Press,p18-46. Oddey, A,1984, Devising theatre: A practical and theoretical handbook, London: Routledge , p24-41.  Shapiro, B, 1999, Reinventing drama: acting, iconicity, performance, Greenwood Publishing Group. Read More