Concentration

Description:

This week we rehearsed for the one act play, I understood how important concentration in rehearsals is.

Analysis:

Rehearsals require a lot of concentration. Many times actors have problems in life and is difficult to make them away. A character doesn’t have the same feelings than an actor. Although in theatre we SEE the character, and we don’t need their thoughts, if the actor things of something in the moment when is performing the character then all this transfers also in the physicality to the character. The character needs of full concentration to be complete. It’s not just how the character walks, the face expression and the voice. The character lines don’t come out of the bloom, when the character says something is because they have been thinking about, and when the character is in silence they still have a personality and have reactions, which might be not said but thought. These thoughts are the stimuli for the reaction showed in the physicality of the character. How it looks at another character, how his breathing change, how he moves…

This week I, as an actress, felt that concentration was more difficult to achieve that in other opportunities. This is why this week I understood the importance of this. As I couldn’t concentrate I found difficult to find my character when I didn’t said a line, and being in stage saying a line is much easier than being on it without saying something.

Connections:

Many times in school plays as actors aren’t professional and haven’t been trained by a long time, they haven’t developed concentration as professional actors. This I think is the reason that many kids, for example, in Shadow Queendom asked for lines, because they think that if they don’t talk the character they have isn’t important or they cannot develop a character. But the character rather on the lines it says (because that would be literature), relays on the intentions it have and how the actor conveys it to the character.

Reflection:

The intentions of a character comes from the thoughts of the character, and an actor needs to be fully concentrated to think as the character and no longer as the actor, so the intentions the character have don’t show the feelings from the actor, but rather the ones from the character. Now I wonder, until what extent can the actor think as the character, because the director will give you advices and you have to accept them not as the character but as the actor, and it may be the case that you are “in character” and you receive the direction.