Central School of Speech and DramaUniversity of London
The Body tells the story
(with specific reference to Screen Acting)
Since the emergence of film the screen actor has been aware of importance of the precision, form and animation of the whole body. A slight physical gesture of the hand, a glance or raise of an eyebrow will offer a layer of meaning, which would be hard to express in words. The filmed image deconstructs the body, the entire instrument is scrutinised; shot composition places it at the centre of the mise en scene and at the forefront of the story.
Michael Chekhov, Grotowski, Barba, Stanislavski, Lorna Marshall and Anne Bogart are amongst the many innovators who recognise/d the importance of the body in the craft of acting. Enabling actors to operate psychophysically and to avoid the dominance of the thinking centre is a pedagogic challenge, which confronts all those who train actors. In seeking to facilitate a real engagement with the internal landscape we are confronted by the largest obstacle, the actor them selves. Habitual patterns, energetic imbalance and a disconnection to the self can restrict the artistic potential and true engagement in the moment. The embodied story of the actor can prevent the fictional story from being told.
I will examine how the energetic body informs and contributes to the story and creates a narrative that can enhance the quality of the performance. My practical research over the last two years has involved developing a methodology which requires actors to examine the connection between the deep physiological structures and internal alchemy using ancient Eastern movement and energy disciplines. At the core of the work is the principle that energy tells a story and is revealed in the way we think, breathe, move and express our selves emotionally. Drawing on Chi Kung, which promotes the flow of Chi (vital energy) in the body, this approach highlights the potential to fully open the system, enhance communication, and create a plane from which to work. Screen acting requires the actor to expose the inner workings of the whole physical instrument including the power of external stillness. I argue that a greater awareness of the story that the body tells and the significance of the energetic system in that story begin to bridge the gap between the mind and body. This technique enables the screen actors to engage more fully with their own internal life and so resonate through the lens.
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