Vocal expression

Vocal expression is a technique used in Drama heavily by actors. It can be used in many different ways although it is mainly used for expressing a character. It is in 6 main sections; Accent, Tone, Timbre, Pause, Pitch and Pace. All of these have a heavy affect on a character when used. For example, if a character is nervous, their pace will be fast, their pitch will usually be higher, their timbre will be harsher and their tone will be short and angry, their accent will be more free as they will care less and they might have a stutter or have many short pauses for breath after their long sentences. This is opposed to if a character was very relaxed as they'd be slower in their pace, lower in pitch, have a softer timbre, longer pauses when they've finished a sentence, the tone will be more free and easy and the accent will probably be more precise. It allows the character to almost see a background to what kind of person the character is. Are they uptight and fast in their actions, or are they flowing and smooth. It may also help the actor to understand what their character is like as sometimes naturally with the words your pace and pitch increases or decreases.

Interpretation

Interpretation is the way that the actor, playwright or director decides how a certain role should be played. It is their own opinion.


Playwright --------------> Director ---------------> Actor --------------->  Audience
(Ideas)                            (Script)                        (Script,                     (Performance)
                                                                          Character
                                                                          Director)

                                                 Page to the stage

Intro --------> Development ---------> Conflict ---------> Resolution
      (Scene 1)                                    (Scene 2)                                      (Scene 3)


My interpretation on The Kid:
He should be on the edge, about to tip over.
At times he does go over but only at certain trigger words, he also has triggers words that lull him back into being relaxed.
Scared of movement.
Very twitchy.
Finger twitching occasionally in memory of the piano.
Only strong eye contact when off the edge or looking at Ton.
Varying range of pace matching his mental state.
For example, It'll will be faster when he's angrier and slower when he's calming down.

Laban movement analysis

Laban movement analysis is the visualisation and interpretation of human movement, although it derives mainly from dance it can also be used for describing dramatical gestures. For example, movements can be direct or indirect. They can be constantly flowing or have a definitive start and a definitive stop. For example, if you're acting out a tai chi instructor, your movements will generally be slow and calculated, your sentences and voice will be long and drawn out, the vowels in words will be lengthy and you won't be rushed. Whereas if you're acting out an athlete or boxer, you'll be more pumped up, constantly moving and there'll be a definitive start and stop to your movements, you'll probably be quite sharp and direct as well. Your voice will be concise and the sentences you say will be as short as they possibly can be. Any confrontation will be strongly met as well, in way of gesticulation, you'd use movements such as the punch movement or push, directly as well. It would have an affected area that you would be aiming at as such. I believe that using this median of drama allowed me to connect more with how my character would act, would he be rushed and short tempered or temperamental and ready to calm a situation. 

Stanislavski in drama

The main idea behind stanislavski's way of thinking is basically making the actor get into the mind frame of the character they're acting. For example, giving them slight traits, such as a limp or having a headache, real world scenarios that would effect the way they move, talk, and act overall. For example, when we applied this to a scene between Ton and the kid in gotcha, we assigned these different aspects to the characters and then made sure that we were able to show them off to the audience. it added a sense of realism to the piece and allowed us to give our characters a deeper motion in how they acted, understanding that if they had a headache or an argument just before that they'd be uptight and constantly being niggled by these difficulties. In the partnership I was in we also had a pacing circle between the two characters to show a kind of trapped animal mentality. It allowed us to show how riled up and annoyed they were, sick of being trapped and ready to claw at each others throats to try and get out. I think that it did help us to get a deeper meaning from our characters and let us focus on how they'd act in different scenarios.