Ok time for movements and exercises.
Jing(Fairy Godfather)
- Placing, throwing and opening up motions with the use of water sleeves.(this has been taught)
- Kick style walking(this has been taught)
- Must practice fluidity
Exercise to be done
-Walk around in character, doing the prescribed stock type movement and say your lines.
Lao Dan(Stepmother)
- Head isolations( You have been taught these on saturday, and expected to be able to do this)
- Graceful and controlled walking which is slow yet very graceful(this has been taught too)
- finger isolations to be practiced so as to be able to carry out gestures requireed of this stock type.
Hua Tan(Cinderella)
- Walking with slight trots to be practised
- Playing with handkerchief- Bending knees low when posing
- Practice finger isolations for greater control of your gestures. This has to be done due to lack of water sleeves
Xiao Sheng(Prince)
- Practice kick style walking(different than Jing's)
- Practice gestures
- Practice pivoting
Sunday, August 16, 2009
Agendas for Meetings
PLEASE TAKE NOTE-
Rehearsals-
Monday- Scene 1 and 2 to be finished. All stock type movement for each character must be known. Only touching up of movement is to be done. Scene 1 to be memorised. Showcase also.
Tuesday- All scenes completed. And rehearsed. All scenes to be memorised, as scene 3 is just me.
Wednesday- Perfect everything.
Rehearsals-
Monday- Scene 1 and 2 to be finished. All stock type movement for each character must be known. Only touching up of movement is to be done. Scene 1 to be memorised. Showcase also.
Tuesday- All scenes completed. And rehearsed. All scenes to be memorised, as scene 3 is just me.
Wednesday- Perfect everything.
Wednesday, August 12, 2009
Stock Type Movement of Lao Dan- Stepmother
The way they walk-
They are the most grounded stock type of this piece. They're lower body movement is very limited, at most they have slight up and down motions to accentuate sudden flares in emotion. They walk very slowly and tend to move about the same spot when speaking. Though they are grounded, they do not bend their nees very much when posing as they are 'old' and portray their grace through their control.
The way the move their upper body and posture-
Their upper body is very stationary, only moving with their head to accentuate the movement of their head and pose. It is also detrimental as it portrays whther the character around her is of a higher or lower status.
The way they make gestures with their arms-The movements exhibited by their arms is very slow and controlled, portraying an element of trained grace. The make use of their fingers and arms by making gestures towards people or things. They also use it to make very elegant poses to show an emotion as the trend is to create a character sophisticated enough to show underlying emotions with their short poses.
The way they move their heads-
The Lao Dan's head is the most important part of their body in terms of movement. They use their head to portray almost all of their emotions and gestures. Their head is used by cocking it towards or away from the person they are talking to show whether they like or dislike the person. They also use facial expressions very heavily which is why the head's movement is essential to the way their emotions are portrayed.
In General-
This character requires a good amount of physical control and assertive facial expressions
They are the most grounded stock type of this piece. They're lower body movement is very limited, at most they have slight up and down motions to accentuate sudden flares in emotion. They walk very slowly and tend to move about the same spot when speaking. Though they are grounded, they do not bend their nees very much when posing as they are 'old' and portray their grace through their control.
The way the move their upper body and posture-
Their upper body is very stationary, only moving with their head to accentuate the movement of their head and pose. It is also detrimental as it portrays whther the character around her is of a higher or lower status.
The way they make gestures with their arms-The movements exhibited by their arms is very slow and controlled, portraying an element of trained grace. The make use of their fingers and arms by making gestures towards people or things. They also use it to make very elegant poses to show an emotion as the trend is to create a character sophisticated enough to show underlying emotions with their short poses.
The way they move their heads-
The Lao Dan's head is the most important part of their body in terms of movement. They use their head to portray almost all of their emotions and gestures. Their head is used by cocking it towards or away from the person they are talking to show whether they like or dislike the person. They also use facial expressions very heavily which is why the head's movement is essential to the way their emotions are portrayed.
In General-
This character requires a good amount of physical control and assertive facial expressions
Tuesday, August 11, 2009
Stock Type Movement of Xiao Sheng- Prince
The way they walk-
The prince always walks upright, stamping te ground with his feet as he is the authority and one who is in an extremely high position. He never bends his knees. When turning, he pivots just like army men or does th 'check T L V thingy'(didn't know how else to put this). He is always marching from one place to another and is very rooted to the ground.
They way they move their upper body and posture-
The upper body hardly moves, unless it follow the movement of the arm, and even this is not done very obviously. It moves with the lower body as if one unit, and or seems to have a 'swagger' when walking. This motion which i call 'swagger' is actually the character's persona which is seen through the way the body sways. This motion is done by moving more of the hips to give off a slightly more feminine composure to portray a more loving male character.
The way the make gestures with their arms-
The gestures, are very locked. The fingers must be closed tight and movements are done with the use of the shoulders while the elbows are locked at different positions to give a more assertive demeanour to the movement.
The way they move their heads-
This character doesn't move his head too much, unless he wishes to assert a point or portray a sudden change in emotion as regardless of his persona, a male has to be stoic and calm.
In General-
This character is quite uptight in his movements, yet he presents himslef with grace and poise as expected of one from regal bearing.
The prince always walks upright, stamping te ground with his feet as he is the authority and one who is in an extremely high position. He never bends his knees. When turning, he pivots just like army men or does th 'check T L V thingy'(didn't know how else to put this). He is always marching from one place to another and is very rooted to the ground.
They way they move their upper body and posture-
The upper body hardly moves, unless it follow the movement of the arm, and even this is not done very obviously. It moves with the lower body as if one unit, and or seems to have a 'swagger' when walking. This motion which i call 'swagger' is actually the character's persona which is seen through the way the body sways. This motion is done by moving more of the hips to give off a slightly more feminine composure to portray a more loving male character.
The way the make gestures with their arms-
The gestures, are very locked. The fingers must be closed tight and movements are done with the use of the shoulders while the elbows are locked at different positions to give a more assertive demeanour to the movement.
The way they move their heads-
This character doesn't move his head too much, unless he wishes to assert a point or portray a sudden change in emotion as regardless of his persona, a male has to be stoic and calm.
In General-
This character is quite uptight in his movements, yet he presents himslef with grace and poise as expected of one from regal bearing.
Stock type Movement of Hua Dan- Cinderella
The way they walk-
They are not as grounded as most characters, and tend to hop before posing or making a gesture. They walk with small trots which makes them look energetic and youthful.
The way they move their upper body and posture-
They tend to be lithe and fluid in the movement of their upper body, showing a good command in terms of flexibility and coordinated body isolation.
The way they make gestures with their arms-
They actually have one of the most complicated set of gestures and movements for this area. As they do not possess water sleeves they need to refine and perfect the use of their fingers and wrist so as to further exaggerate their movements. This in turn equates in a greater control of the movement of their arms as the audience can actually see what they do.
The way they move their heads-
They are very animated, moving it along with their arms and body, giving rise to a very playful looking character.
In General-
This character is very lively and bustling with energy. It needs to be played with a lot of energy as the movements required of it has to be 'blown up' on stage.
They are not as grounded as most characters, and tend to hop before posing or making a gesture. They walk with small trots which makes them look energetic and youthful.
The way they move their upper body and posture-
They tend to be lithe and fluid in the movement of their upper body, showing a good command in terms of flexibility and coordinated body isolation.
The way they make gestures with their arms-
They actually have one of the most complicated set of gestures and movements for this area. As they do not possess water sleeves they need to refine and perfect the use of their fingers and wrist so as to further exaggerate their movements. This in turn equates in a greater control of the movement of their arms as the audience can actually see what they do.
The way they move their heads-
They are very animated, moving it along with their arms and body, giving rise to a very playful looking character.
In General-
This character is very lively and bustling with energy. It needs to be played with a lot of energy as the movements required of it has to be 'blown up' on stage.
Saturday, August 8, 2009
Chinese Opera Movements
“The choreographic nature of acting on the Chinese stage,” A.C. Scott wrote in the International Encyclopedia of Dance, “is apparent in the formalized treatment of movement and gesture, integrated with passages of song and music, in which words are treated as time-movement units. Hand gestures symbolizing emotional reactions create a continuous visible element with the tonal movement of the actors’ singing and declamation. Graceful passages of pointing with the fingers of one or both hands move through spatial sequences attended by the following glances of the performer, whose foot movements timed to the music carry forward the motifs of the dance.”
Delta wrote: “Always present...is the manner of moving used to define the specific individual being portrayed. Roles fall into genres—human beings, animals and birds, and supernatural beings...Ghost are conceived of as being stiff, devils as curvaceous; they dance grotesquely and humorously...The intrinsic quality of each animal or bird is fancifully and fully exploited—the powerful tiger, the brazen leopard, the sly fox, or the wily eagle.”
“Because classical opera uses no scenery, the actor-dancer sets the stage by incorporating the idea of physical environment onto gesture and movement...Action expands the stage when, from atop three stacked tables, the dancer does a double somersault to indicate he is running down a mountain. Many actor-dancers turn the stage into a sea with spread-eagle leaps, diving falls and spiraling turns...A general on a symbolic horse uses slipping, sliding and collapsing movements to portray efforts to advance on icy ground.”
Delta wrote: “Always present...is the manner of moving used to define the specific individual being portrayed. Roles fall into genres—human beings, animals and birds, and supernatural beings...Ghost are conceived of as being stiff, devils as curvaceous; they dance grotesquely and humorously...The intrinsic quality of each animal or bird is fancifully and fully exploited—the powerful tiger, the brazen leopard, the sly fox, or the wily eagle.”
“Because classical opera uses no scenery, the actor-dancer sets the stage by incorporating the idea of physical environment onto gesture and movement...Action expands the stage when, from atop three stacked tables, the dancer does a double somersault to indicate he is running down a mountain. Many actor-dancers turn the stage into a sea with spread-eagle leaps, diving falls and spiraling turns...A general on a symbolic horse uses slipping, sliding and collapsing movements to portray efforts to advance on icy ground.”
Subscribe to:
Comments (Atom)