Chapter 4 - The Body Energizers
Reading about the principles of buoyancy, radiancy, and potency was interesting after having done the exercises in class. I definitely understood buoyancy as floating and radiancy like an electric charge. I liked how the text explained radiancy as “Chaplinesque.” That worked well for me. Also, creating a “child-like” play in movement is what I got out of the text.
The one that I struggled with was potency. In the exercises in class, I took it as a heavy feeling but the book describes it as a “muscle-yawn” and says it “feels chemically charged.” I did not get the idea of potency being “heavy feeling.” I went through the exercises and still struggled with this one. However, if I think about it having a heaviness, it clicks in for me and works but the idea of “muscle-yawn” doesn't seem to resonate with me.
Bringing the Past into the Present: Period Dance on the Stage and in the Curriculum - Movement for Actors
Being a dance minor, I loved this chapter especially the end of this section because it covered the timeline of period dances. I think this is important in theatre because many shows have period dances in them and we should be able to reference this.
Also, the section on postural alignment is great because it has several exercises to do for better posture before dancing. So many American’s have terrible posture and actors need to be versatile with their bodies so we need to be able to have excellent posture for one show but terrible posture for another show.
Shakespeare Honors the Three Centers of the Body - Movement for Actors
The three centers are mind, heart, and body (sexual). This chapter focuses on putting the actor into an Elizabethan or Middle Ages character. It talks about “images, gestures, symbols and metaphors” to achieve this.
I like how the text described “balancing extremes.” It is true in Shakespeare and many other plays actors must balance between something and it’s opposite. One thing I really enjoyed about this chapter was the section on Some Rehearsal Notes on Moliere and Restoration Comedy Style. I really took this section to heart. When we first started rehearsing The Rivals scenes, I kept the idea in the back of my mind that I did not want show my true feelings to Lucy. This chapter talks a lot about restraint of our feelings and emotions, however, when playing a character such as Lydia, that balance is very tricky because she is so emotionally over the top. One thing that stuck with me was using the eyebrows to show frustration or anger. I tried to do this as Lydia.
Posture and Alignment - Energy and Relaxation in Movement
It was interesting actually thinking about how the body bends itself. I have never really thought about how the spine moves or works and to think that it is able to fold or bend, curve like in a back bend and stretch out is pretty fascinating, especially after seeing all of the vertebrae in the spine.
Also I found it interesting thinking about tension as a general issue to many problems. Getting our muscles in a relaxed state is not something we normally do. We tense and keep those muscles tight causing more issues. For years, I’ve suffered from a tense neck and tight jaw. The past two semesters I have really focused on those areas and keeping them relaxed when they are not being used and it’s really helped me become aware of my body and how I am feeling not only in everyday life but even more so when I am performing.
Another area in this chapter that I found enlightening was the foot and leg posture section. When I am on the ground I always let my feet fall out to the side. Finding out this actually is damaging was eye opening. I did ballet for a long time so it has taken many years to correct the turn-out posture that I have developed.
Ch 10 - Body’s Personal Space Spheres
I really struggled initially with the idea of having a sphere around your body. It was an interesting idea to think about this sphere being an extension of your body systems. The one thing that really stuck with me was the idea of the athlete. This idea of an athlete being inside his/her own personal space sphere, made sense. Now when I watch sports I picture this and it is very interesting.
Another area that I liked was the part about the vocal space sphere and how visually that sphere could be as big as the room we are looking at. I usually have a big voice and a lot of volume and projection so picturing the sphere is easy to do.
Theatrical Stillness - Movement for Actors
I really loved this chapter. It emphasizes the importance of stillness on stage. So many actors, especially inexperienced ones, move too much and don’t realize the power of stillness. I loved how the book said “Stillness gives clarity to relationships.” In real life we are not moving constantly and sometimes we are just still. This should be the same with acting.
I am very familiar with John Cage and Merce Cunningham. In fact, I wrote a paper on them for my Modern Dance class last semester. Cage knew that stillness with sound could be powerful and Cunningham used stillness and sculptural movements in dance for the same reason.
Ch 3 - Taihenjutsu - Stage Combat
I enjoyed this chapter. The exercises reminded me of a dance warm-up but added a few things to stretch out the spine. Several professional actors I’ve worked with do vocal warm-ups but don’t bother to do physical body warm-ups, which I believe are just as important. I really like the swing and circle warm-up.
I loved the suggestion to rehearse something at half-speed as a warm up before a performance. This is important for several reasons. It gets you in the mind set of doing it controlled and therefore can protect you. It also sets it in your muscle memory and prevents injury.
Reminding us to get low and that it should be quiet when doing rolls is important. The wrist stretches are really great. They really stretch out the muscles in your wrists and forearms.
