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Explain how actors manifest their training on the stage.

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Explain how actors manifest their training on the stage.

  • Course: Drama
  • Professor: A. Grivas
  • School: Lambton High School
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Explain how actors manifest their training on the stage. In your answer refer to your study and exploration of the approaches to acting and performance of TWO of the practitioners and texts set for study.

Approaches to acting explores not only the practitioners but also the world in which their audiences are living. Brazilian theatre director Augusto Boal’s The Theatre of the Oppressed grew out of the chaos and oppression in Brazil in the 1950’s-70’s. The aesthetics of his approach to acting came from his philosophy and belief in humanity’s ability to change through theatre. The Theatre of the Oppressed is therefore a theatre of liberation and the actors and non-actors are trained in a specific way to realise Boal’s theatrical forms. He published his theories in a book; Games for Actors and Non-Actors. Tadashi Suzuki’s text, The Ways of Acting, chose not to provide a manual for acting training but rather to present his philosophical approach to the stage, the nature of acting and the place of purpose of performance in contemporary society. His ideas were influenced by Japanese Noh and Kabuki theatre and he sought a deeper meaning in his practice and found it in the metaphysical and ritualistic dimensions of his method. Both practitioners manifest their training on the stage through their actor training and their audience engagement.

In Augusto Boal’s philosophy, “ordinary citizens are actors who are simply unaware of the play, and everyone can make theatre, even the untrained.” Brazil suffered two military coups in 1964 and 1969 and during this time Boal performed with his acting troupe to peasants and workers who were affected by the coups. However he realised that the ideas he were presenting were only revolutionary in theory as he and his middle class actors lived far from the reality from those who they were performing. As both a theorist and director, Boal was especially intrigued by the relationship between the spec-actor and the actor, and his...