~Impro~ to the ~Visation~

Within this lesson we explored the art of improvisation and ho it can help one emotionally connect with one's role, We were first advised to find a partner and then face them. e were then told to create an imaginary world and situation through improvisation. Me and my partner Jordan produced a number of small scenes each with different narratives; some were slow and dramatic and some were quicker and comedic. For instance, in one improvisation we accepted the roles of step-brothers waiting at a train station, bored, aggravated and tired. Jordan's character was the slightly more talkative one asking me a number of questions which my character would answer with broad replies therefore conveying the tension in their relationship. 

Next, we were instructed to work independently for the coming exercise. The class was told to mime a scene which involved the day-to-day doings of a person. Some people mimed someone doing the washing up etc. In my piece I entered the role of someone trying on their sisters make-up then realizing how scary they look. 

Peruse to the Laban

Today in our Acting Techniques lesson, Tim introduced us to the world-renowned Laban Technique and explained how it could be used successfully during an actors characterization process.  We were first explained that the Laban process helps an actor breaks down and identify the way he/she moves in day-today life using three separate areas of analysis: space, weight and time;  Space can be either direct or indirect.  Weight can be strong or light.  Time can be sudden or sustained. As a result,  When you combine these processes you are left with eight efforts that classify styles of movement, as well as foundations of human characteristics which can be used to develop your characters's personality. These are the eight efforts and Laban techniques:Direct, strong, sudden--------punch (thrust)Indirect, strong, sudden------slashDirect, strong, sustained-----pushIndirect, strong, sustained---wringDirect, light, sudden----------dabIndirect, light, sudden--------flickDirect, light, sustained-------glideIndirect, light, sustained-----floatFollowing what we had just learn't Tim instructed to put this into practice therefore, we positioned ourselves into a space within the room and stood in neutral. Tim then at different intervals would call out one of the eight efforts of the Laban technique. Later we were asked to read a section of our scripts using the Laban Technique to uncover certain traits and habits of movement that our character's may have. During this process I discovered  fitted mostly with the 'flick' effort of movement which was indirect, light, sudden. In conclusion I believe the strengths of this exercise was that it opened up our minds and bodies therefore prohibiting any portrayal of yourself during the process and therefore finding new ways of moving and conveying emotion. However  in my view the disadvantage of this practice is that one could be tricked into developing a rather melodramatic and stereotypical style of movement which would hinder one's performance.