The guiding principles I have examine that Bogart and Landau purpose about the body as a tool was practical to say the least. It encourages readers to focus and flex their creative imagination using the body. It is rigorous training to help beginner or novice students in depth on questioning, exploring, and reorganizing parts of theatre.
Bogart and Landau gives a set of task for readers to focus on which helps open the student mind the freedom and imagination to create. Bogart and Landau insinuates pushing the body for non-dancers and student actor's experiences to learn different positions. It is a way for the student to be a creator, actor, reflector, and participant. Communication and dramatic text explained in the viewpoints system are physical such as using shape.
Being aware that your body is already making a shape as a silhouette but being able to use that in amidst of creating lines with your body. It is possible for a student to be able to use their knees and feet to create shape. A student does not have to use the main body parts such as legs and arms.Connection through dramatic text can be use through architecture. For example, in a class course we were instructed to use props in the dance room to connect with. As well as our bodies.
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Breathing and following our tempos using our breath has been a major form of dramatic connection. Bogart and Landau's example of medium, fast and slow tempos connected to me during the exercise in the most recent class. It felt like after our instructor told us to switch tempos from fast to slow or slow to fast it was up to us to connect after that. When switching my tempo's, it became slightly confusing to keep up with myself without being constantly told to change tempos.
It is a battle between your mind and your body. Your body is listening to your mind, which is being responsive to the instructor telling you what to do all while trying to keep up your own pace. Connecting is required by focusing on a task at hand. When your mind and body are being responsive to different things, it is up to the student to connect your mind, body, to the tempo. Adapting to this process of performance had been a challenge. Understanding how to have your mind and body in sync. Using your tempo helps because you can pick an action and changing your tempo will change your action.
"Be aware of how the action of changing tempos alters the meaning of physical action".37. This quote adapts to me in a sense of how my tempos in my action could affect my mood. Switching of tempos can help with awareness. "It will expand range and develop the individual's ability to shift in and out of extreme tempos instantly and unexpectedly".37. This quote analyzes how switching of tempo is perceived. Mainly because for example if you are punching, a punching bag slowly it will not feel like you are not putting any impact into the bag which will cause your mood to become drained or fall short. For a faster tempo my mood can be either extremely happy, anxious, or angry.
"When working with fast tempos, balance on the inside by maintaining a sense of calm, quiet, slow.39." This quote puts a better perspective on tempo for me. You'll understand your ultimate control at that point. If you center yourself and find balance this could be achieved. Challenges experienced have all been learning experiences. The architecture. Being aware of positioning your feet and other props around you in the room. " Texture.53." In this passage it helps me analyze how when wearing my Nike runners on the floor in the black box theatre, they can be certain floor movements I have to do with my shoes off because I cannot achieve the movement without sliding, letting the slick floor and my socks help my movement.
An activity with a small area and a lot of running in different directions could be difficult in a sense. For example, an activity that required us to run all over the area in different directions in different tempos. "Become acutely aware of exactly where you are and let this architecture inform your movement.52." Knowing this passage during that exercise could have been put into logic during that time. "Including Others.53." Explains on joining in on using objects with others around you. In a lesson where you are told to find a spot around the room and, to use the same prop can be a challenge because of placing. Trying to place yourself in a position that fits with the object and also trying to maintain in sync with the others around the prop. It is something that takes thought before executing because if not this can cause other confusion as well.
In conclusion Bogart and Landau have both put in helpful examples of how to understand, analyze, and reflect on exercises being done.
Remember. This is just a sample.
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