Movement is the use of the body to express a character’s story. It is the ability to project internal thoughts, emotions, needs and wants to use the body in motion. He can also show something about a character’s life and background. The movement is motivated from the point of view of the character, and not with the actor playing it. This is justified in the character's mind, and the following are the most common reasons.
Motivation of movement
To get what I want or need
To express your feelings
To communicate with another symbol or object
Convey my thoughts
Establishing relationships
Perform a specific task
To process an object
Enter or exit a specific location
To go to the comfort zone
To confront or avoid confrontation
To improve the viewing position
Other aspects affecting movement
Age: child, teenager, adult, middle age, elderly
Relative status: leader, subordinate, equal
Professor: Worker, Secretary, Manager, Executive Director
Relationships: Lover, friend, friend, stranger, enemy
Education: posture, manners, posture, education
Self-image: Confident, uncertain, vulnerable
Mental and physical dexterity: slow, fast, limited
Violations: physical disabilities, illness, substance abuse
Environment: physical environment, climate, culture
Clothing: loosely flowing, overwhelming, stylish, conservative
Making a choice about movement is not easy. Our dramatic training largely focuses on the verbal part of acting. The dialogue is much easier to explain and communicate. However, non-verbal ones require the conscientious study of the life and behavior of a person, the identification, isolation and explanation of his messages.
The movement is complicated, as there are so many aspects to consider. In addition, the study of motion has different interpretations. However, if we break down the movement in categories, we can choose the options that best suit our character and plot situations. This would simplify the selection process and create areas for the development of the life cycle (people watching). The options given are examples and do not cover the entire range of choices.
TYPICAL MOVEMENT
Total tel:
Walking, running, crawling, sitting, standing, aerobics, etc.
isolated : Partial body movements
Give, throw, hand
Receiving, catching, taking
Raise, Hold, Pull, Drag
Punch, punching, tapping
How done:
Open: Flowing, free, unlimited
Closed: almost restrained, limited
Weight: both physical and emotional, heavy
Intensity: internal force behind the movement, powerful, weak
Dimensional aspects: wide and wide, narrow and small
Pace: fast, slow, consistent, changing
Directional aspects: straight, winding, curved, changing
In the following example, the main intention, desire, conflicts with her doubts. As a rule, it is difficult to express opposing utterances at the same time, using only body language. To convey them with clarity, you must first specify one and then the other, so that viewers perceive the conflict through contrasting body language. Nevertheless, it is possible to oppose simultaneously contradictory dialogue against the movement. Usually the movement will be the prevailing truth.
Alone in her living room, Sheila is waiting for her blind date. An even and shy woman, 37 years old, now divorced for 5 months, she was suddenly alarmed with the thought of meeting. Their telephone conversations raised both expectations and concerns, and now she faces uncertainties. What movements would you use to show the situation and her feelings awaiting her date, and then when the doorbell rings?
The main consideration will be the conflict between the desire to communicate and her fear of the unknown, her doubts. In addition, the obstacles of being timid and shy would increase her fears. The conflict will be realized through two sets of movements, one desire, and the other - fear. When she waits, her emotions and intentions will shift back and forth.
I will start with her preparation for the date, put her coat and purse on the chair, check her watch and go to the window to see if her date is coming. Then she turns away from the window, as arrogant. Twisting, she stops in front of the mirror and looks at herself, seeing Sheila, seeing her. Uncertainty is slowly turning into confidence, and it is higher.
Now, having gained control, she decides to sit and wait. However, her eyes move as new provisions become available. Then, straightening the dress, she recalls a pleasant moment. Tension returns when her hands are intertwined, and she notices a diamond engagement ring, which she still wears. Holding him closer, he long returns loving thoughts of courting.
Then, suddenly, the doorbell rings. She suffocates from the air and remains in this middle zone between flight and combat. She overcomes the urge to run and slowly gets up, taking a deep breath to regain her courage. She walks to the door as if she is being pushed. Once there she hesitates, touching the latch. Then, making her smile, she opens the door.
Notice how in the example above, different movements are used, as well as a range of intensities. This creates a more attractive character, one with depth.
Both with movement and gesture, it’s best to do less and do these actions that you use and to be clearly readable. In addition, they must fit the story and fit the character and his relationship. Remember that external physical actions express our inner experiences. These are our bodies, our movements and gestures that best show our minds, desires, feelings, intentions and aspirations to others. The movement must be such that even a deaf person can understand what is happening.
People who watch and learn award-winning performances are the best ways to learn the techniques described here. In your research, pay attention to the effective use of movements and gestures, and as soon as what performs the dialogue and storytelling, it leads to plausible speeches. Duplicate your results in short exercises so that they become an instinctive part of your repertoire.
