The Rudiments of Acting

Acting is an unconscious activity every individual performs daily. Human activities are packed full of acting; the way we talk, walk, run, fight, quarrel, imitate, eat, laugh, etc. However, this unorganized and unconscious activity cannot be said to be performance. Little wonder then, to see someone who is naturally funny at joking cannot make people laugh as a stand-up comedian or someone who naturally likes quarreling cannot do the same when asked to perform such act on stage or in front of the camera. This is so, because, acting is an organized and specialized art and not just an activity.rnTHE VBMS OF ACTINGrnV=VoicernB= BodyrnM=MovementrnS=SpacernOf the above four, two; voice and body are the actor's tools. Like any other workman, voice and body are the essential working tools of the actor. Without them, there is no actor.rnVoice rnAs pointed out above, voice is an essential working tool of the actor. It is the tool, with which he communicates his ideas, thoughts, feelings, and emotions to the audience. rnThe voice is a powerful tool such that a sight impedes (blind) person can tell the mood of an actor. In radio drama, the listeners cannot see the actors/actresses; neither can they see the action. However, with the help of the voice, they can feel the action thus see it with the mind's eye. They can feel the actors/actresses’ emotions and follow through on the action till the very end. That is how powerful the actor's voice can be.rnThe actor’s voice is his powerhouse, his arsenal. The actor must, therefore, guide his arsenal jealously and so speak in a clear and audible voice.rnBody Another powerful working tool of the actor is his body. I call it "the gesticulation engine room". With the body, the actor can communicate his feelings, thoughts, ideas, and emotions to the hearing impede (deaf) person and fully understood it.rnWith the face, the actor can communicate the message of happiness, sadness, dissatisfaction, etc without a spoken word, but with body language. The body speaks just as loud as the voice. rnIn mine, a musical drama, the actor communicates his ideas, thoughts, feelings, and emotions to the audience without a single oral word, but through body gesticulation. The actor must, therefore, master the use of the body as a communication toolrnBasic Body Positions in Acting rnFull front position: This is the position in which the body and head directly face the audience or camera. rnProfile position: This is a 90-degree turn so that the side of the body is towards the camera or audience. rnFull back position: This is when the actor directly backs the audience or camera. rnThree-quarter position: This position is halfway from profile to full back. rnA quarter position: This is approximately 45 degrees away from the audience or camera. rnMovement rnMovement helps to define the actor's character, his personality, status e.g. wealthy, poor, clergy etc. Movement and space are interwoven in that movement is done within a space. rnThe actor's movement is a calculated and organized act. Not just a “to and fro" thing. Movement must be defined. The reason for movement must be established. Well known to the audience. rnThough, movement is largely the work of the director to define, the actor has a responsibility and obligation to perfect his act.rnMovement places emphasis on situations. In a situation where there is a bomb blast or rioting, the movement should portray and emphasize the situation. The movement in such situations must be hasty and fast-paced: running, that of chaos. Anything contrary will be the wrong move. rnMotivation of Movement rnAs already stated above, movement is a calculated and organized act. The reason for any movement must be clearly defined. rnAlexander Dean and Lawrence Carra noted that movement used to express the story, background or character may be motivated out of either inner or arbitrary considerations, depending upon the script, adding that what is motivated out of arbitrary consideration is of a technical and intellectual nature whereas, a movement motivated from inner considerations has more emotional basis. rnThis is to say that by general rule, the movement of comedy is more arbitrary than that of tragedy. Since movement is largely the responsibility of the director to determine, we shall look at motivation in connection with the actor to motives and objectives. rnMovement should and must be prompted by motives and objectives. By motives and objectives, we meant, what is the reason for the movement. Is the movement aim at getting something, getting close to someone, hitting someone or something, and so on? This must be well established. Acting is making believe, therefore, every movement must be justified. The impulse for the action must be justifiable otherwise, such movement will give the wrong interpretation for the action. rnSpacernThis is the physical area where the action takes place. Space is an important element in acting. It helps to amplify the actions of the actor. The actor must, therefore, master the acting space and interprets his role following the acting space. To simplify this, a hospital room, a court of law room, a classroom, etc are acting space. The actor's interpretation of his role must conform to these acting space and not otherwise. ……..Stay home, stay safe, and stay productive.