Helping Actors Discover and Project Basic Relationships




You are now ready to put organic blocking to work (see pages 63–65). The techniques discussed in this and the following chapters are devoted to two ways of looking at activity on the stage: (1) from the actor’s view and (2) from the audience’s view. The first is absolutely basic to an actor’s understanding of the conflict his character is going through in a play, and the second is about the craft of showing that conflict fully and clearly to an audience. Your attention should be focused primarily on the first objective, but the second objective, if the first one works, will probably be accomplished simultaneously. Later, when you work with more accomplished actors, you ...

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