Characteristics of representational drama (realism + naturalism)

Pages 13-14 and 27-28 in the textbook

stage business

incidental activity performed by the actor for dramatic effect e.g. checking a mirror, having trouble opening a door

minutia

the small, precise, or trivial details of something.

suspension of disbelief

the acceptance of something unreal being real for a period of time. is a key convention of representational drama.

Representational drama voice

characters must use the voice to imitate life and make the performance seem life like to the audience. necessary for the suspension of disbelief. must sound natural, lifelike and believable.

suspension of disbelief

the acceptance of something unreal being real for a period of time. is a key convention of representational drama.

Realism voice

dialogue is highly conversational and follows grammar rules- everyday speech.

when emotion is increased, conversation heightens and is more stylized with more use of adjectives, adverbs et. + actors are more flexible with vocal tone to connect voice with feelings and must be realistic.

characters are always talking to other characters and not to the audience.

characters speak with an explicit/implicit objective and everything they say must be justified.

TSCS

time, space, class, situation

naturalism voice

slice of life and makes no point.

accents (languages/dialects) are important. true to reflecting real life, so crude language, colloquialisms, cursing + mumbling, stammering, lisps are used if appropriate to the character even if it’s harder to understand their speech.

vocal and nonverbal sounds specific to the character+ TSCS need to be embraced.

Representational drama movement

lifelike and imitate the way real people use their bodies in everyday situations (natural and prompted by internal feelings and thoughts).

All movement, expression, actions should work together in a unified way to reflect the character’s ideas, emotions and psychology. However, when the meaning of the speech and movement conflict, it’s the movement that reveals more accurate meaning of the character’s intentions and feelings.

this is useful because just like in real life, the characters are multi-layered and 3d, so it becomes interesting when the speech and movement are opposing.

Realism movement

body is relaxed and ready to react to internal/external stimuli.

movement is purposeful and prompted by motivation and internal state.

gestures are spontaneous, stage business is important, both are linked to active internal state.

conflicts in spatial awareness and proxemics between characters are important

Naturalism movement

additional to realism movement:

movement must always be motivated and authentic- if the character doesn’t want to move, then they shouldn’t even if they have during rehearsals or past performances.

stage business is extremely detailed including minutia only seen by the character.

actors can have backs to the audience for extended periods if justified and relevant.