Theoretical models in teaching theater
The various models of theater applied to teaching teenagers theater facilitate understanding and staging.
The subject known as dramatic arts has an important role in many important becoming part of the curriculum. The process of physical training, vocal and use of space combined with a thorough knowledge of the authors and creators of so-called theoretical models.
The Stanislavski Theatre
Constantin Stanislavski was a Russian actor and director of the late S. Nineteenth and early S. XX social origin and born accommodated within the familiar saga of Alekseyevsya struggled against the wishes of his family before his way in the world of theater. His contribution was essential since created a school of theatrical interpretation completely innovative for its time. Basically, play was to faithfully reproduce the behavior, speech, etc. character in order to convey that feeling to the public.
According to the Stanislavski technique, the actors should be familiar with what is called “the circumstances”, in other words, the circumstances leading up to define the personality of the character: social origin, age, previous experiences before and during the time of the site. This technique was a model and example of practice in many schools of theater, to the point that many Hollywood actors faithfully following the “ethos” advocated by Stanislavski have lived in the same position the character in the cast (adopting accents, clothing or modes of life even outside of the trials). Another important task in the art of this author is called setting the objectives and action units. At the stage, students should keep in mind the objectives or purposes of the characters and delve into his personality as closely as possible.
The theater of Bertolt Brecht
Unlike Stanislavski, Bertolt Brecht developed a completely different theater. His youth and maturity coincides with the two world wars in their home country, Germany, which has to go into exile. His theater is a reflection of the historical moments of the time and social struggles in the framework of Marxism to which it adheres. As a result, the very purpose of theater was to awaken the political and social consciousness of the spectators. This theater was called “epic theater” with works such as The Caucasian Chalk Circle set in Russia after the withdrawal of troops Nazis.
Unlike the model of Stanislavski, in this, the apprentice actors must objectify his actions and spread the message through techniques such as recitation, singing or estrangement with staged. This is not intended that the viewer identifies with the characters, but to reflect and critically analize and objective facts narrated. The final idea is to show social injustice and exploitation in the class struggle. The tone and elevation of a declamatory voice, and the distant relationship between actor and audience are tools to serve this message.
Antonin Artaud was an innovator in the area changed dramatically that all existing structures and accepted at the scene. His life was marked by a succession of extreme sitaciones such as illness, psychiatric hospitalizations and personality disorders. Born in Marseille and moved to Paris in 1920 looking for a way out of its initial vocation as a writer but this turn then to the theater and film.
With him, theater breaks the thread of the narrative rationality to give way to improvisation, isolated movements, sounds, all with the aim of starting the curiosity and amazement of the spectators. The relationship between audience and actors were completely altered. With the new phase of Artaud, viewers need not be a part of the room, its distribution varies from a circle to watch the work from higher levels or balconies. Artaud opens up numerous possibilities. Started in Artaud’s theater is an intense emotional and physical training for students who are trained to experiment with sounds, sudden movements, shouts etc. The ultimate intention is to cause shock or surprise the audience using all kinds of resources from games to clothes shocking light.
Tools that facilitate models
The use of space is a tool constantly remembered during testing. The voice is another tool for the text and purpose of the actors: modulation, timbre, accent, and pauses are, semiotically speaking, self-contained. All this combined with a strong theoretical knowledge of the authors and models prepare the actor or actress for the scene, critics and a life in which the flexibility and discipline are an important part of their professional success.