5.3 Stage movement and blocking

Stage movement and blocking are essential skills for actors, shaping how they use their bodies and space on stage. These techniques bring characters to life, convey relationships, and create visually compelling scenes that captivate audiences.

From mastering stage directions to understanding proxemics, actors learn to move with purpose and intention. They develop body awareness, collaborate to create dynamic stage pictures, and use physical characterization to express their character's inner world through movement.

Stage Movement Principles

Fundamentals of Stage Movement and Blocking

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• Stage movement encompasses purposeful and choreographed physical actions of actors on stage (gestures, posture, locomotion)
• Blocking involves planning and choreographing actors' movements and positions on stage (in relation to each other, set, audience)
• Stage divided into nine areas (upstage left, center, right; center stage left, center, right; downstage left, center, right)
• Stage directions given from actor's perspective (stage right actor's right when facing audience)
• Principles of composition in stage movement contribute to overall visual impact
  • Balance
  • Focus
  • Levels
  • Stage picture

Spatial Relationships and Visual Elements

• Proxemics plays crucial role in stage movement (conveys character relationships, power dynamics)
• Use of levels (high, medium, low) in blocking creates visual interest
  • Emphasizes character status
  • Directs audience focus
• Economy of movement emphasizes making each movement meaningful (avoiding unnecessary or distracting actions)
• Spatial awareness crucial for actors to maintain appropriate distances
  • From other performers
  • Set pieces
  • Stage boundaries

Purposeful Stage Movement

Intention and Deliberate Choices

• Intention in stage movement drives actor's physical actions on stage (underlying motivation or goal)
• Purposeful movement involves deliberate choices about how to move
  • Considering factors such as character, emotion, scene context
• Tempo and rhythm in movement convey character's emotional state, urgency, or personality traits
• Improvisation exercises help actors explore different ways of moving (develop spontaneity in stage presence)

Developing Body Awareness and Control

• Physical warm-ups and exercises essential for developing:
  • Body awareness
  • Flexibility
  • Control necessary for intentional stage movement
• Spatial awareness crucial for maintaining appropriate distances while moving
• Practice various movement qualities
  • Sharp
  • Fluid
  • Hesitant

Movement and Character

Physical Characterization

• Physical characterization expresses character's internal traits and motivations externally
  • Specific movement patterns
  • Gestures
  • Postures
• "Psychological gesture" connects character's inner emotional life to specific physical actions (developed by Michael Chekhov)
• Status and power dynamics conveyed through:
  • Posture
  • Proximity
  • Use of stage space

Character-Driven Movement Choices

• Tempo and quality of character's movements reflect emotional state and immediate objectives
• Character-driven blocking involves movement choices consistent with:
  • Character's personality
  • Background
  • Current circumstances
• Use of props and interaction with set motivated by character's objectives
  • Reveals aspects of personality or emotional state
• Adapt movement to character's physical traits
  • Age
  • Injuries
  • Occupation (soldier, dancer)

Collaboration for Stage Pictures

Creating Visual Compositions

• Stage pictures form overall visual composition (actors' positions, movements, relationships to each other and set)
• "Triangulation" in blocking arranges actors in triangular formations
  • Creates depth and visual interest on stage
• Use of levels, asymmetry, and negative space in stage pictures
  • Creates visual interest
  • Conveys thematic or emotional content
• Ensemble movement and group choreography require coordination and awareness among all actors

Collaborative Blocking Process

• Directors use principles of focus and emphasis to guide audience's attention
  • Through blocking choices
• Collaborative blocking involves give-and-take process between directors and actors
  • Allows for creative input
  • Serves overall vision of production
• "Cheating out" involves slightly angling body towards audience
  • Improves visibility and projection
  • Maintains illusion of natural movement within scene
• Adapt blocking for different stage configurations
  • Proscenium
  • Thrust
  • Theatre-in-the-round