ABSTRACT
Given emotion’s role in actor and actress profession, it is not surprising that researchers has sought to endow them with the ability to employ emotion and emotional expression. A relation between emotion and its bodily expression can serve several roles in portraying a particular character. This study explored the creative development of human body in a theoretical production. It further discussed the methodological issues that arise in studying the bodily expression of emotion. It emphasized on the body system as a source of character.
The study adopted qualitative design which involved conceptual, historical and explanatory. It was anchored on developmental movement theory and theory of proxemics. The theories were used to explain the relationship of body and character in acting.
Generally, the study established that several patterns of body movement systematically occur in portrayals of specific emotions, allowing emotion differentiation. Although a few emotions were prototypically expressed by one particular pattern, most emotions were variably expressed by multiple patterns, many of which can be explained as reflecting functional components of emotion such as modes of appraisal and action readiness. It is concluded that posture, movement and gestures are important element of acting that must not be neglected or taken for granted.
It is therefore, recommended that upcoming artist should be trained on posture, movement and gestures in order to showcase the professionalism of acting profession.
TABLE OF CONTENTS
CHAPTER ONE: Introduction
1.1 Background to the Study
1.2 Statement of the Problem
1.3 Objective of the Study
1.4 Significance of the Study
1.5 Scope of the Study
1.6 Methodology
References
CHAPTER TWO
2.1 Developmental Movement Theory Applied to Actor Training
2.2 Theory of Proxemics
2.3 Origin of Body Language
2.4 Combining Body and Body-Parts Position, Movement and Gesture
2.5 Representation of Emotions
2.6 Actor Portrayals of Emotions
2.7 Inducing Emotional States
2.8 Individual differences in Encoding
2.9 Avoiding interference from other modalities
2.10 Other Elements Responsible for Bodily Expression
2.11 Expressive Elements of Posture and Gesture
2.12 Expressing Emotion through Movement
2.13 Expressing emotion through specific gestures
References
CHAPTER THREE: Analysis of Techniques: The Gesture Code
3.1 The Hand as Tool of Action
3.2 Gesture, Perception and Mental Image
3.3 From Physical Action to Communicative Gesture
3.4 From Daily Gesture to Artistic Gesture
3.5 Gesture as Symbolic Action
3.6 Posture: The Extensions of the Gesture Code
3.7 Psychology of Gesture
References
CHAPTER FOUR: Blocking and Movement
4.1 Blocking
4.2 Movement and Physical Behavior
4.2.1 Strong, Winning Attitudes
4.2.1 Weak, Struggling or Failing Attitudes
4.3 Stage Orientations and Emphasis
4.4 Body Positions
4.5 Blocking Positions
4.6 Acknowledgement and Support
4.6.1 Making it more Important
4.7 Stage VS. Screen Blocking
4.8 In Closing
References
CHAPTER FIVE: Summary and Conclusion
5.1 Summary
5.2 Conclusion
Bibliography
