September 26th Drama Reflection
My analogy for drama is flu virus; Once the flu virus infects one mere person, it starts to spread widely throughout the world. Even more, it gets more fatal to destroy the immunization part of human cell , which is white blood cell. Same goes for Drama. Drama infects people with stories. It gets more interesting while transferred and it makes the audience’s adrenaline& endorphin irresistible . Moreover, as virus disguises itself to be a gigantic virus, the drama people perfectly conceal themselves and be the character to make audience suspend the disbelief.
So far, we’ve learned the eight VIEWPOINTs of Anne Bulgart and only one is left for us. I decided to revision the 8 viewpoints, so that I can be confident and not confused when I learn the last Viewpoints.
There are 6 viewpoints created by choreographer Mary Overlie and the present viewpoints are the one developed and added by Anne Bulgart, a founder of SITI company.
The primary viewpoints that the actor or actress should always keep in mind are Kinesthetic Response and Spatial Relationship. These are the basics for actor and actress. Spatial Relationship, especially, is importance because spatial relationship is accompanied with performers from the moment before performance starts to when the performance ends. It is the distance distance between people and people, people and object. Interesting spatial relationship is when all the performers have individual or interactional stories though they decided space independently. Spatial Relationship has something to do with proxemics which is a study of space.
Kinesthetic response is to respond to an external response stimulus using all of senses including instinct. For instance, The performer him or herself ought to recognize the non-visual response using their auditory senses. The performer uses kinesthetic response and recognize another performer who approached to him/he.
Tempo is being extreme. Performer can walk either slow or fast but at extreme pace. Being pedestrian on the stage is not in order on the stage. In terms of tempo, the performer has to generate energy that comes from stomach.
Duration is the time interval decided by performers. The dynamic difference in duration gets rid of banality in performance therefore entertains audience. It is a matter of how long the performer holds the stillness.
Repetition is literally repeating certain movements. It stirs curiosity of audience if the same movement continues.
Gesture can be decided into three parts and they are habitual gesture(a gesture that naturally comes from your daily movement such as rubbing noes with your hand or scratching somewhere in your body), cultural gesture(a gesture which contains certain meaning and is used in certain area e.g. shaking hands, snapping hand with folded fingers) and abstract gesture(a gesture which symbolizes intangible meaning so that it can be interpreted differently from person to person). On the stage the performers group develop gesture and gesture is spread through copying exactly, transferring, transforming and recycling.
Floor pattern is the movement which uses floor and creation of path. The performer can walk through a straight line , or make a curve.
Shape is combination of curves and straight line created by performer’s bodies. The performance can use either positive space or negative space. If topic is give, the performer gets inspired by the topic and create their interesting space. The key to make interesting space is making an symbolistic yet challenging shape rather than taking the topic literally. By the by, my personal experience in the class taught me that interesting space is created when performers cooperate by supporting each other’s body part.
Now I have only 1 viewpoint left, before I get into new point. I evaluate myself in terms of VIEWPOINTs.
For me, gesture is the challenging viewpoint s because I think I didn’t make it well in the drama class. On the contrary, I have a strong confidence in Shape and Spatial Relationship. I want to be a performer who makes her audience to immerse in her performance. To do so I ought to strengthen my strength and enhance my weakness, indeed.