Posted at 03.10.2018
This part uncovers both the physiological and scientific activities behind the demonstration of the voice. As an actor, theatre practitioner or theorist, we become aware that the presentation of communication is not really a mere potential to speak, but an action from a complicated organ which is destined up with our feelings and understanding which directs our physiological reflexes. For Linklater, the conveying of sentiment must mean the feeling of feelings since our voice is power by our very breath. Breathing is chemically and bodily from the body's capacity and state of serenity. The natural tranquil voice occurs when the body is harmonious, peaceful and warm but any aspect of stress, pleasure distraction can cause breathing influxes which create anxiety and resonance which creates a new firmness and inflection. (Linklater, 1976)
Linklater's next part proceeds that communication with the words is not always the conveying of talk. However, in Western theater it is accepted that speech and dialect is female form of expression. The words and the acting professional must therefore become one. Both must be in their neutral condition but not became a member of because they are in the actor's human being life but rejoined, both neutral and aligned to negotiate the new adornment of personality in which to convey new expression. With this sense the stars own imagery behind their speech must be put aside and a fresh imagery must result from the character, this must take place naturally, through exercises and development. Only here can the actor and their words become unique and spontaneous in their role.
Furthermore the learning of lines must be ingested into the center creating an understanding between the professional and their role. The actor got to know more than the type in order to respond instinctively and naturally vocally within the action. (Linklater, 2006)
In this section Berry focuses on the idea behind the vocal exercises he developed. These exercises help to convey how Linklaters ideas can be performed. For Berry the tone of voice of the professional must be separated from the tone of the individual and preconceived ideas. The way the individual communicates, their own anxieties and tensions must be removed in order to release full vocal probable. Berry laments that one can only get the best vocally if exercises are partaken. A couple of three stages of development for Berry. The foremost is relaxation and deep breathing. In this stage the actor grows the power for vocal electricity by increasing the use of the mouth and tongue. The second stage is the use of this to the actor's role. They must be aware that their own vocal inhibitions are bound up with their performing voice, and this what they listen to is not what the audience hears. Counting on their own tone of voice would lead to a predictable design of operating, instead the acting professional must use these exercise to free the voice and allow the emotion of the role to be one with the voice, preventing the need for predictable driving out and manifestation of thoughts. Finally the 3rd level is the opinion in both the exercises and a knowledge of the next stage to set-up vocal freedom. The development of the tone of voice through these three levels of exercises will create a new liberty, allowing the speech to react instinctively to the action, beyond thought and technicality of the celebrities thoughts, but instead naturally and readily. (Berry, 1978)
Contrary to mime's general image of speechless and silent manifestation, Lecoq's writings on mime communicate quite of the words and even the ideas of flexibility in motion and vocal as reviewed above. Fundamentally Lecoq rejects the idea of mime being the appearance of words without sound. The clichd image of the mime, with exaggerated moves and facial expression, Lecoq indicate fails to communicate the practice of mime and its own true talent. Mime in its simplest form is the idea of imitation. Here we can understand the art work of dramatic mime that Lecoq discusses. That is creation of a theatrical situation with the body, often relating to the impersonation of people's. Such artists create the illusion of the individual they imitate, vocally, in body and action. Their fine art lies in the capability to be this person in alternative scenarios. The actor must have the movement, gestures and thoughts as if these are their own, only the theatrics occurs when the addition of the celebrities true do it yourself is added, their ownership of the motions produces the substance of mimicry. Symbolic mime requires the acting professional to partake in absolute mime, creating the environment and opening the audience's creativeness. This requires a steadiness of action, a knowledge of the weight, location and true talents of the objects in the illusion. Finally there is certainly the use of cheap mime, the use of your body as a dialect perhaps used with the constraints of face masks. Your body must convey the story whilst the facial skin illuminates the feeling. Lecoq theories something for conveying mime through exercises designed to able the body. However, Lecoq laments that system of exercises once used must be discarded of a true and spontaneous performance is usually to be conveyed. The body steps spontaneously, with reflective action and the machine of exercises must not prevent this. All tempo is organic and no two rhythms are the same and this is key to the creation of the skill of mime. (Lecoq, 2006)
Once again this part focuses on the freedom of appearance necessary in behaving. Through mask work, Shrubsall speaks of Houben's techniques, as influenced by Mosho Feldenkrais and Jacques Lecoq. The capability to divide and un-clutter one's own mindset which lays behind all our human movement, readying your body for important spontaneous movement using techniques such as understanding the relationship between different parts of your body and their related moves. That is conveyed in the key of the mask in behaving. The mask is only going to exist if there is a connection between the acting professional and the mask. They must end up being the mask. If the actor appears to the sky, the mask must convey this use of perception, his brain expressing the movement and his back again and shoulders responding so. This piece is approximately the utilization of organic and natural and functional motion, clear of judgement and preceding interpretation. (Shrubsall, 2002)
In this chapter Murray attempts to produce a group of exercises where to share the knowledge of Lecoq's theatre and understanding how to prepare one's body for theater as expressed by Lecoq. Murray defines the fundamental key points behind Lecoq's theories and therefore his exercises. It's the idea that essentially movements provokes emotion and the body remembers this. This chapter focuses mainly on the coaching of these actual exercises as opposed to the theory behind but considers most mainly the body's romantic relationship between force and yank, balance and imbalance in the creation of Lecoq's work on tragedy, melodrama the neural mask and commedia del'arte. (Murray, 2003)
There is a style within these readings, that of body and activity in space and time incorporating ideas of freedom without influence. In order to grasp this flexibility the readings claim that the utilization of exercises is of leading importance for the natural, free vocal and bodied actor. The muscles of the mind and body must be warm and content to be able to start the actor's full probable. There is the suggestion that acting without such thought is meaningless and insincere. That to act is usually to be free from our individual constraints.