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Home > Drama > HSC Course > Studies in Drama & Theatre > Approaches to Acting > Approaches to Acting

Approaches to Acting

Study Guide
Jaques Lecoq

This topic explores approaches to actor training in the 20th century and its realization in theatre production. The study involves the exploration of the philosophical and practical approaches to two practitioners` work , and the manifestation of their techniques, process and specific exercises, for performance on stage. Students must consider the aesthetics and expression of the actor’s presence and its relationship to audience engagement. Specific examples from the practitioners’ theatre work, contemporary theatre practice and experiential learning should be used to explore the topic.

Jacques Lecoq: Murray, Simon, Jacques Lecoq, Routledge Performance Practitioners, Routledge, London, 2003.

You need to be familiar with all aspects of the given rubric for the topic area. Questions which you should be able to answer are :

1. What is Lecoq’s philosophical approach to actor training?
2. What techniques does Lecoq employ in his training process to further his theatrical intentions?
3. What are the particular characteristics of the Lecoq-trained actor and how do these characteristics engage the audience ?
4. Are you able to discuss the work of theatre practitioners who approach their work using Lecoq’s philosophy and techniques?
5. Can you give examples from your own classroom experience to support points you might make in an essay?

1. What is Lecoq’s philosophical approach to actor training? Some points you might consider are :
   
   
   • to be part of a process of cultural renewal after the devastation of World War 2
   • to open up artistic activities for working class people thus giving a ‘voice’ to the people
   • to rethink the nature and direction of acting – to create a theatre for the future
   • to use his school as a laboratory to research and develop new ways of working as a performer
   • to use the actor’s body rather than the spoken text to generate meaning in the theatre
   • to create a theatre which could have universal appeal irrespective of age, gender, race, language or social class
     
     
2. What techniques does Lecoq employ in his training process to further his theatrical intentions?
   
   Some important areas of exploration for the actor–in–training are:
   
   
   • to discover the forces and patterns which underpin emotional states – to move from movement towards emotion instead of the reverse
     
     Exercise : In pairs, using a one metre bamboo cane, supported between the palms of the right hands, push each other through space. Gradually allow a more dramatic quality to develop as you intensify the dynamic of pushing. This will generate emotion.
     
   • to charge the space between performers with tension
     
     Exercise : In pairs, imagine the bamboo cane connecting you and your partner. Work slowly at first then develop your push and pull movements, always keeping the dramatic space between you constant. Extend the space to a two metre distance and add moments of stillness between moves. Keep the space dynamically charged during the stillness. When you have mastered this add a word. The partner who pushes adds the word ( e.g. Come, Stay, Wait ) either before or after moving.
     
     
   • to investigate dramatic territories associated with ‘popular’ theatre
     
     Exercise : Melodrama – physicalising emotional states - In silence, as a group, improvise the moment of departure of one member of a family. The person enters the room for their final leave taking. They might, for example be pregnant to a married lover or be a gay son going to live with their boyfriend. Focus on the silent dramatic tension between characters.
     
     Exercise : Ancient Greek chorus work – the importance of working as an ensemble with a group, rather than an individual, objective - Using a piece of choral text one person, standing behind another begins to whisper the text, phrase by phrase. Each phrase is echoed loudly by the person in front. A third person moves behind. He/she whispers the text. The two in front echo each phrase spoken by the whisperer behind. A fourth person takes up the rear position and becomes the whisperer with the three in front echoing the phrases. Continue adding people until there are fifteen people in the chorus.
     
     
   • to explore the use of mask and mime as a method of focusing the actor on expression of emotion through the body
     
     
   • to investigate and promote playfulness – essential for progression in Lecoq’s school
     
     Exercise : The Valley of the Giants – As a group, wearing neutral masks, imagine that you are giants. Engage with what is around you, also giant-sized. Show the audience what it is like to live as a giant.
     
     
   • to make the inanimate animate – transformation of material objects
     
     Exercise: In a group of 2-4 people, using a good length and width of stretch fabric explore the creation of an animate being. Demonstrate your creature relating to the world.
     
     Exercise : As an individual use found materials to create a simple full or partial body mask ( string, wire. tubes, stretch fabric etc ). Work with a partner to develop a short scene during which the two creatures, silently, relate to each other.
     
     
3. What are the particular characteristics of the Lecoq-trained actor and how do these characteristics engage the audience ?
   
   Some points you might consider are :
   
   
   • The actor functions as part of an ensemble which works collectively to create the physical and visual imagery.
   • The actors create the physical and visual imagery over a long rehearsal period. The work belongs to them and is a manifestation of the group’s collective imagination.
   • The actor’s individual presence is often concealed, his/her identity often not clear to the audience.
   • The imagery is developed to strongly affect the audience but does not rely on technical effects but on the physicality and creativity of the performers, the dramatic tension between them and the imaginative use of simple materials.
   • The subject matter aims to have a universal appeal without cultural, social or specific political associations. It relies on the sense of play within the actors and attempts to connect with the innate sense of play within each member of the audience whatever their gender, language or belief system.
   • The actor/audience connection is extended by breaking the fourth wall and including the audience in various ways.
     
     
4. Are you able to discuss the work of theatre practitioners who approach their work using Lecoq’s philosophies and techniques
   
   Perhaps you saw Mummenschanz perform at Sydney theatre in February 2006. This company was formed by students of Lecoq and he worked with them until his death. They continue to be deeply influenced by his approach to performance. Many elements of his teaching could be discerned :
   
   
   1. clever, inventive , well-rehearsed work, reflective of the spirit of Lecoq’s interest in mask and play
   2. body suits, masks and other animated materials were sourced and constructed by the performers
   3. little use of technology – no music, little sound, minimal sets and basic lighting
   4. performances which appealed to all ages
   5. no political or issue-based themes – concerned with feelings and emotions recognizable and humorous to all
   6. strong actor/audience relationship in which the fourth wall was often broken
   
   If you did not see the company, many of the images presented in the given text were presented during the performance.
   
   Theatre de Complicite, also founded by students of Lecoq, particularly embodies his deep interest in metamorphosis and transformation. The text gives many examples of this.
   
   
5. Can you give examples from you own classroom experiences to support points you might make in an essay
   
   It is essential that you demonstrate experiential knowledge of the topic area. Examples of your own or fellow students’ work can be presented as evidence to support your argument.
   
   Finally, are you able to coherently link the various aspects of the rubric ?
   Practise writing paragraphs which do this.

Approaches to Acting

Study Guide
Tadashi Suzuki

This topic explores approaches to actor training in the 20th century and its realization in theatre production. The study involves the exploration of the philosophical and practical approaches to two practitioners` work , and the manifestation of their techniques, process and specific exercises, for performance on stage. Students must consider the aesthetics and expression of the actor’s presence and its relationship to audience engagement. Specific examples from the practitioners’ theatre work, contemporary theatre practice and experiential learning should be used to explore the topic.

Tadashi Suzuki: Tadashi Suzuki, The Way of Acting ( trans J Thomas Rimer), Theatre Communications Group, New York, 1986.

You need to be familiar with all aspects of the given rubric for the topic area. Questions which you should be able to answer are :

1. What is Tadashi Suzuki’s philosophical approach to actor training?
2. What techniques does Suzuki employ in his training process to further his theatrical intentions?
3. What are the particular characteristics of the Suzuki-trained actor and how do these characteristics engage the audience ?
4. Are you able to discuss the theatrical work of Suzuki and/or theatre practitioners who approach their work using Suzuki’s philosophy and techniques?
5. Can you give examples from your own classroom experience to support points you might make in an essay?

1. What is Suzuki’s philosophical approach to actor training?
   
   Suzuki’s writings in the given text demonstrate chose not to provide a manual for acting training but rather to present his philosophical approach to the stage, the nature of acting and the place of purpose of performance in contemporary society. Suzuki’s ideas, profoundly influenced by Eastern spiritual thought but also informed by his theatre work in the U.S., particularly engaged theatre practitioners of the 70’s and 80’s, who sought a deeper meaning in their theatre practice and found it in the metaphysical and ritualistic dimensions of Suzuki’s method.
   
   Points to consider are his interests in :
   
   
   • linking the spiritual and ritualistic nature of traditional Japanese performance, Noh and Kabuki theatre, with Western dramatic traditions. He likened the society of post-World War 2 Japan with that of the declining Ancient Greek empire and is particularly interested in their drama.
   • recovering the use of ‘animal’ energy, a connection with the forces of nature, in a world increasingly consumed by ‘non-animal’ energy, with little reference to nature or humanity
   • creating a universal theatre in which the troupe has absolute dedication and a collective vision, nationality, cultural and social mores, gender and body shape being of no significance
   • revealing through performance the real nature of the difficulties of human existence
     
     
2. What techniques does Suzuki employ in his training process to further his theatrical intentions ?
   
   The Suzuki Method of Actor training rigorous discipline and constant practice. His method is strongly related to the traditional training of Japanese Noh and Kabuki actors. Creativity cannot begin until mastery of the skills is accomplished.
   Suzuki holds that an actor’s basic sense of physicality “ begins and ends with the feet” . We are part of the ground and will return to it when we die. A performance begins when the actor first has the sensation that he/she is putting down roots.
   
   Exercise : Hah! promotes focus and a sense of collectivity It is an introduction to Suzuki’s technique and needs much practice.
   
   Form a silent circle and on a given signal vocalize a Hah! from the diaphragm. The Hah! is expelled at the moment of landing from a jump. The landing position is an open one, with bent knees and arms, and the emphasis on connecting with the earth. After perfecting this, focus on the centre of the circle marked by someone’s fist. The fist is removed , all close their eyes , lower their heads and visualize the fist. ‘The Fist’ nominates a member of the circle with a tap on the shoulder. In their own time the selected student will do the action and sound of the Hah!. The others must simultaneously synchronise a Hah! with them.
   
   Exercise : Rhythmic Stomping ( Ashi-byoshi ) with its origins in Japanese ritual is an essential exercise which must be executed constantly. It is intended to link the actor with the spirits of the earth and hence all humanity. Practically speaking its purpose is to increase breath support and concentrate strength in the body.
   
   Using a rhythmic beat or music with a strong beat pound the feet vehemently as you move through the space for a set period of time ( three minutes ). The centre of gravity must be low, energy controlled and contained in the pelvic region. The force of the stomp must be maintained. The upper body remains motionless. Try to connect with the ground. When the beat stops the performer uses the last of his/her energy before sinking to the ground and lying flat and motionless. When the beat resumes the actor rises slowly, like a puppet, with the beat, to a vertical position.
   
   Exercise : Sliding the Feet ( Suri-ashi ) also symbolically and physically increases the actor’s intimacy with the ground and is part of the physical ‘grammar’ that Suzuki developed as a source for actors to use in performance. Practically it trains the actor in the controlled muscularity and intense focus necessary for performance. Patterned movement also promotes the required ensemble spirit.
   
   Again using the rhythmic beat or music and with a low centre of gravity move in the Suzuki shuffle. Keep upper body motionless. Imagine that there is a grid drawn on the floor and follow the grid, moving only vertically and horizontally, no curves, no diagonals. Avoid other performers. Be ready to change directions. On a given cue begin making intense eye contact with others who are in your field of vision. On a further cue, close eyes, point to the closest person and whisper their name. Gradually increase the whisper to a loud vocalization.
   
   Exercise : Statues is related to the release of the ‘animal energy’ associated with pre-modern theatre. It explores the balance between earth and sky, towards heights and depths. Practically, it strengthens control and stability of movement and helps centre the voice firmly from the diaphragm.
   
   Establish yourself firmly in the Suzuki crouch, low centre of gravity, feet apart. Respond to a given cue by rising with speed onto the toes, at the same time creating a statue. On second cue return to the neutral crouch. Repeat the sequence several times, each statue being a unique, creative , visual image. When this exercise is secure add voice. Use , preferably, a section of text from Ancient Greek Theatre. Begin in the silent crouch position. On cue, after you rise to first statue position, begin vocalizing the passage. Each time you return to the crouch fall silent. Continue the dialogue after forming your second statue and so on. Vary lengths of silence and speech.
   
   
3. What are the particular characteristics of the Suzuki-trained actor and how do these characteristics engage the audience ?
   
   Some points you might consider are :
   
   
   • The actor uses a particular ‘physical grammar’ based on the feet which aims to connect him/her with the ground and thus tap into the power of ‘animal energy’
   • The actor employs a body strength which radiates from the pelvic area and presents the audience with a charged and heightened physicality
   • The actor has a voice which is controlled from the diaphragm and is charged with energy and tension
   • The actor has intense concentration and a powerful muscularity even in stillness, seen in the use of statues
   • Actors work in a presentational style
   • Actors work with classic plays and reconstruct them to find universal and contemporary meaning
   • Actors work as an ensemble which usually utilizes a chorus to comment on the action
   • The actor aims to establish a connection between his/her body and the performance space – the ‘sacred space’. Some, like Suzuki’s company, might have creative base , a ‘spiritual home’, like Toga-mura , an adapted farmhouse in the Japanese countryside
   • Actors have an affinity with nature, welcoming its presence, sometimes performing outdoors
   • Actors try to make theatregoing a more satisfying social experience as well as a cultural event by encouraging sharing of food, conversation, even accommodation, as at Toga-mura
     
     
4. Are you able to discuss the theatrical work of Suzuki and/or theatre practitioners who approach their work using Suzuki’s philosophy and techniques ?
   
   Suzuki’s companies have worked globally, including in Australia, with a landmark production of The Bacchae. There are countless websites which detail Suzuki’s work with companies. Find your own examples.
   Some information on a variety of Greek tragedies he has directed can be found on :
   www.didaskalia.net/issues/vol1no4/mcdonald.html
   
   A review of his New York production of Electra can be found on :
   www.villagevoice.com/theater/0145,mcnulty,29704,11.html
   
   Frank Theatre , based in Brisbane, has been working for many years on productions based on Suzuki techniques, Oedipus Rex being one of its most celebrated. They recently presented a work based on the Doll Trilogy ( Summer of the Seventeenth Doll ) using his techniques. For further information start with :
   www.ozfrank.com
   
   
5. Can you give examples from your own classroom experience to support points you might make in an essay ?
   
   It is essential that you demonstrate experiential knowledge of the topic area. Examples of your own or fellow students’ work in classroom exercises or prepared assessment tasks can be presented as evidence to support your argument. Be sure that you have ready examples.
   
   Finally, are you able to coherently link the various aspects of the rubric ?
   Practise writing paragraphs which do this.