Working with physical objectives is crucial as it’s an
effective way to link dialogue and action together so that your character has a
purpose for every decision he/she makes. Having a physical objective also stops
you from over acting and instead enables us to use our instincts. Releasing
instincts will help your piece come to life, it makes you live in the given
circumstances of the piece/your character.
- Feel the breath when saying a line and remember your breath should come from your stomach.
- I find sometimes I restrict myself to using just one body part to get energy from and to build tension, but it’s important to experiment with the whole body and even the space around you to make the words you’re saying mean something.
- I believe a really good technique is to get to an explosive high energy level and allow the lines to burst out of you and then go back and normalise it to suit the given circumstances. By reaching this unnatural high energy level you have the flexibility to hit that tension level if you need to and you can feel which state to go to in specific parts of your monologue.
- You can have a simple objective “The text rides on the action.” When the line comes the objective feeds the line so it’s important not to just give up the objective when you say your line. Sometimes I begin to look unrealistic as I let the body become disconnected with the voice as i am focusing on my physical objectives, but when I just play the physical objective without worrying too much i am able to connect them.
No comments:
Post a Comment