Department of Drama

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https://scholar.sun.ac.za/handle/10019.1/43

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Browsing Department of Drama by Subject "Acting -- Technique"

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    Towards a dynamic voice approach evolving from leading voice and movement theorists
    (Stellenbosch : Stellenbosch University, 1996-03) Baker, Gavin R.; Kruger, M. S.; Frege, I.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
    ENGLISH ABSTRACT: Speech is muscular and therefore is a dynamic process which involves the movement of a large number of body parts. This dynamic muscular process requires energy. Therefore, this study focuses on movement that it is organic. It works in collaboration with the functioning of the body, not opposing it. By allowing the movements of the rest of the body to echo the movements of the tongue and other organs of articulation, organic movement is encouraged. This approach enables the student-actor to become aware of the speech process and the physical and psychological blocks that he might have. By confronting these blocks, they can be eliminated with the help of exercises. Therefore, in a dynamic voice approach, the student-actor is encouraged to experiment with his movements, whether set or improvised. Voice and movement are a reflection of the individual's personality. Movement is an important tool for characterisation. Exploring a strong physicality plays a major part in influencing the characters' speech mannerisms and patterns. Therefore, it is impossible to think of movement as seperate from voice and acting. Movement can function as a major agent in "freeing" and releasing the voice, as well as assisting in overcoming physical and emotional blocks. The combination of sound, through syllables, into words and sentences involves rhythm. The transferring of thought int sound involves tempo-rhythm. This is made easier by man's remarkable ability to apprehend and appreciate rhythm. The use of movement highlights this method of accepting and appreciating rhythm. The aspects of voice and speech (relaxation, alignment, breathing, resonance, pitch and rage, articulation, tempo-rhythm, placing projection) are connected and interrelated which reinforces the importance of a holistic approach to voice work.
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    Training the student actor in the production process : a look at areas in which a director within a training institution can facilitate the learning process in a student actor
    (Stellenbosch : Stellenbosch University, 1997-03) Schultz, Waldemar; Hauptfleisch, Temple; Pretorius, H.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
    ENGLISH ABSTRACT: A thesis in which the author examines ways in which the director within an acting training institution may use the full-scale theatre production as a means of intense training for the students involved. The author contends that much of the theory and practical work taught within a classroom situation cannot be fully comprehended and/or brought to fruition if it is not tested and experienced within as realistic (pertaining to professional theatre) as possible a scenario, in the form of the student production. For the purposes of this thesis, the typical practical production process is used as a model and different areas in which the director may act as a teacher or catalyst to self-discovery are discussed largely in the order in which they might occur in practice. The author concludes that to provide intensive training through the production process would be a very time-consuming and costly endeavour, although very rewarding if it were at all possible. In addition to this, it would require a highly qualified director-trainer, with an holistic understanding of the 'theatrical art, who is prepared to invest a great amount of time and effort in such a production. Research for this thesis included reading material, practical directing and acting projects, and teaching practical acting in the capacity of a part-time lecturer at the University of Stellenbosch Drama Department.