Kids Act LA
Blog Post
Styles of Acting - What Defines the Differences?
- By Kenneth A. Bynum
- •
- 21 Apr, 2017
- •
When we speak of style, we are generally referring to the genre of the presentation, e.g., drama, comedy, suspense, tragedy, etc. For the style of acting normally follows the genre of the play: drama being portrayed in a dramatic style, comedy in a comedic style, etc. Style is also called the acting key, dramatic key, or sometimes the mood or tone.
The choice of style is an important one, as it is the culmination of many other dramatic choices. Without a consistent acting style, the portrayal may confuse the audience and create uncertainty about how they respond. It is thus a critical part the actor's craft, knowing how to perform in a number of acting styles. Kids Act LA is here when it comes to learn acting especially for kids.
Let's begin by defining style. Style is the selection and arrangement of acting elements and qualities to portray the dramatic truth, the purpose of the play. For the acting ensemble, it is the full realization of the characters' convictions. In other words, saying what we want to say just the way we want to say it.
Therefore, style is truth. It is the means used to express the crux, the essence, and the purpose of the play. It is the selection and arrangement of acting elements. At this point, let us discuss briefly the various elements that make up acting styles.
REALITY. Each style has a degree and kind of life-likeness that we preconceive by reading or viewing the play. The degree of reality can range from the realistic, naturalistic, to surrealistic (dreamlike) or fantasy, to the absurd.
As a general principle, reality is more lifelike in the dramatic styles such as drama, suspense, and tragedy, where as in the comedic styles such as straight comedy and farce, it is distorted and exaggerated. Likewise, the balance and proportion of story elements (setting, plot, dialogue, and characterizations) are more logical and believable in the dramatic styles and lack the same when moving towards the comedic styles.
Reality, the level of suspended believability, will range from the credible in dramatic styles to distorted, unbalanced, and disproportioned in the comedic styles. For the actor, the level of reality, as with all elements of style, must be an ensemble effort. As such, all the characters must exist in the same dramatic world.
THE DOMINANT DRAMATIC FLOW. The audience perceives each presentation through two communicative entities. One is the information of the play. What we see and hear. The dialogue, action, plot, and setting make up the literal, physical elements. The elements we observe, comprehend, and resolve with little cerebral effort or involvement.
A dominant dramatic flow that is informational involves limited intellectual processing and is mostly concerned with the obvious surface characteristics of the play. Because the information is mainly words, action, and stage business, it is pointalistic and primarily one-dimensional in flow. What we see is what we get; and we get one point at a time. Thus, the tempo can and should be quick for little time is required for comprehension.
The other type of dramatic flow is the emotional. This is the implied or inferred element of the presentation, and places importance on meanings, motivations, and expectations resulting from the action. Here the audience is involved with the emotions, rooting interests, and the wants/oppositions - hero/villain polarizations. Imagery, strong caring forces, multi-layered story and character complexities require considerable audience effort and emotional involvement.
A dominate dramatic flow which is emotional is, for the audience, a more reflective, questioning, decision-making process. While the informational flow displays information, the emotional flow demands a response, a judgment. It requires resolving complex data into a one-dimensional answer such as for/against, caring/hating, friend or foe. This process requires time and as such, the pace is slower. This way, the audience has an opportunity to focus on the underlying emotional forces as well as time to digest and resolve a much more complex presentation.
TEMPO OR PACE. Tempo or pace is the rate at which interesting story materials are delivered to the audience. Do not look on dialogue as the only factor affecting pace. Action, movement, gestures, and technical aspects (cuts, lights, and sounds) can likewise have a telling affect on the pace of a scene. Music is another dimension affecting pace.
TIMING. Timing is the ability to sense what is going on in the mind of the audience. It is the ability to use the dimension of time to encourage and enhance the desired response. Let me give you a few examples. In the setup of a joke, the pace at which one expends information is a dimension of timing. In addition, by separating the punch line or resolution from the setup, it can create the desired emphasis, suspense, and/or anticipation. Following the punch line, it is holding for peak laughter and knowing when to continue with the scene. In drama, it is how long one sustains a dramatic point so it is understood and felt to the maximum. In terror, it is that period of time the audience has to speculate the outcome and to be affected by the potential of terror (pain).
EMOTIONS, INTENTIONS, AND BEHAVIOR are the most basic selections in acting. The natures of these choices likewise relate to the genre of the play and to its style of acting. As with the other style considerations we've discussed, the inter-relationships between acting elements provides helpful dramatic guidelines.
Emotions are very large consuming forces. They have an active power to cause drastic change and action. These emotions emerge from the character's commitment, the obstacles, the situation, and the world in which the story is set. In the world of comedy, the emotions are light, decisive, and played on the surface so as not to encumber the quick-moving informational content. Emotions in drama, more so than anything else, move the story forward. Thus, the emotions have a wider span, deeply played, and range from full passion to concealment. As you can see, how one expresses and presents these emotional forces determines, in part, the style of acting.
The intention (sometimes called the objective, thought, or motive) is what the character wants. This conscious intent should be rich, simple expression formulated in active terms that, along with the emotion, produces the perceptible behavior.
This behavior, when open, precise, and readable, requires little effort to comprehend. Such behavior is found, more so, in the comedic styles where the intellect predominates.
On the other hand, it can be subtle, subdued, or even ambiguous, to the point where the audience must search for meaning. This behavior we find in the dramatic styles where strong emotional forces prevail.
PREMISE or THEME. Yet there is a common ground. There is a purpose in each play, a reason for its existence. Almost all plays communicate something, something of worth. Most of the time, this importance and excitement have a profound and predictable affect on us. There are plays with strong social and humanitarian implications while others relate to the pursuit of the ridiculous.
In drama, the premise is highly worthy and has strong rapport with the audience. Powerful opposing forces (polarities) make for empathic characters. The writing is serious and intelligent having compelling arguments. The high moral implications give substance and purpose to the story. Human dilemmas are reflected through vital decisions and their consequences.
AUDIENCE RESPONSE. Identifying this response is a major concern for the creative team, for only then can the director, writer, actors, and the production crew collectively arrange and select the elements and qualities to encourage this vision. This process is a group effort and its determination does not always come easy. It often requires considerable probing of the material through readings and rehearsals along with a spirit of collaboration and open communications.
There is one last critical aspect we should cover namely that of being consistent and faithful to the selected style. If you are doing a mystery with comedic scenes, then they must be done in the style of mystery. This does not mean a tragedy must be all sadness or a comedy all laughs. The style of acting, however derived, must be consistent to the genre of the play. That means serving the purpose of the play and maintaining focus on the overall desired audience response.
Kids Act LA Acting School is playing an important role of mentors in the lives of children who are looking forward to learn acting and other performing arts. The institute has a strong guidance system that could provide complete support and guidance to the prospect performers.
Kids Act LA offers courses designed to teach children the skills needed to get an edge in the entertainment industry. Our mission and ultimate goal is to allow for our children to achieve personal growth and empower them towards substantial achievements in the film TV and commercial industry.
Call us 949 273 8804 for free consultation today!
Or go online at: http://www.kidsactla.com/
The choice of style is an important one, as it is the culmination of many other dramatic choices. Without a consistent acting style, the portrayal may confuse the audience and create uncertainty about how they respond. It is thus a critical part the actor's craft, knowing how to perform in a number of acting styles. Kids Act LA is here when it comes to learn acting especially for kids.
Let's begin by defining style. Style is the selection and arrangement of acting elements and qualities to portray the dramatic truth, the purpose of the play. For the acting ensemble, it is the full realization of the characters' convictions. In other words, saying what we want to say just the way we want to say it.
Therefore, style is truth. It is the means used to express the crux, the essence, and the purpose of the play. It is the selection and arrangement of acting elements. At this point, let us discuss briefly the various elements that make up acting styles.
REALITY. Each style has a degree and kind of life-likeness that we preconceive by reading or viewing the play. The degree of reality can range from the realistic, naturalistic, to surrealistic (dreamlike) or fantasy, to the absurd.
As a general principle, reality is more lifelike in the dramatic styles such as drama, suspense, and tragedy, where as in the comedic styles such as straight comedy and farce, it is distorted and exaggerated. Likewise, the balance and proportion of story elements (setting, plot, dialogue, and characterizations) are more logical and believable in the dramatic styles and lack the same when moving towards the comedic styles.
Reality, the level of suspended believability, will range from the credible in dramatic styles to distorted, unbalanced, and disproportioned in the comedic styles. For the actor, the level of reality, as with all elements of style, must be an ensemble effort. As such, all the characters must exist in the same dramatic world.
THE DOMINANT DRAMATIC FLOW. The audience perceives each presentation through two communicative entities. One is the information of the play. What we see and hear. The dialogue, action, plot, and setting make up the literal, physical elements. The elements we observe, comprehend, and resolve with little cerebral effort or involvement.
A dominant dramatic flow that is informational involves limited intellectual processing and is mostly concerned with the obvious surface characteristics of the play. Because the information is mainly words, action, and stage business, it is pointalistic and primarily one-dimensional in flow. What we see is what we get; and we get one point at a time. Thus, the tempo can and should be quick for little time is required for comprehension.
The other type of dramatic flow is the emotional. This is the implied or inferred element of the presentation, and places importance on meanings, motivations, and expectations resulting from the action. Here the audience is involved with the emotions, rooting interests, and the wants/oppositions - hero/villain polarizations. Imagery, strong caring forces, multi-layered story and character complexities require considerable audience effort and emotional involvement.
A dominate dramatic flow which is emotional is, for the audience, a more reflective, questioning, decision-making process. While the informational flow displays information, the emotional flow demands a response, a judgment. It requires resolving complex data into a one-dimensional answer such as for/against, caring/hating, friend or foe. This process requires time and as such, the pace is slower. This way, the audience has an opportunity to focus on the underlying emotional forces as well as time to digest and resolve a much more complex presentation.
TEMPO OR PACE. Tempo or pace is the rate at which interesting story materials are delivered to the audience. Do not look on dialogue as the only factor affecting pace. Action, movement, gestures, and technical aspects (cuts, lights, and sounds) can likewise have a telling affect on the pace of a scene. Music is another dimension affecting pace.
TIMING. Timing is the ability to sense what is going on in the mind of the audience. It is the ability to use the dimension of time to encourage and enhance the desired response. Let me give you a few examples. In the setup of a joke, the pace at which one expends information is a dimension of timing. In addition, by separating the punch line or resolution from the setup, it can create the desired emphasis, suspense, and/or anticipation. Following the punch line, it is holding for peak laughter and knowing when to continue with the scene. In drama, it is how long one sustains a dramatic point so it is understood and felt to the maximum. In terror, it is that period of time the audience has to speculate the outcome and to be affected by the potential of terror (pain).
EMOTIONS, INTENTIONS, AND BEHAVIOR are the most basic selections in acting. The natures of these choices likewise relate to the genre of the play and to its style of acting. As with the other style considerations we've discussed, the inter-relationships between acting elements provides helpful dramatic guidelines.
Emotions are very large consuming forces. They have an active power to cause drastic change and action. These emotions emerge from the character's commitment, the obstacles, the situation, and the world in which the story is set. In the world of comedy, the emotions are light, decisive, and played on the surface so as not to encumber the quick-moving informational content. Emotions in drama, more so than anything else, move the story forward. Thus, the emotions have a wider span, deeply played, and range from full passion to concealment. As you can see, how one expresses and presents these emotional forces determines, in part, the style of acting.
The intention (sometimes called the objective, thought, or motive) is what the character wants. This conscious intent should be rich, simple expression formulated in active terms that, along with the emotion, produces the perceptible behavior.
This behavior, when open, precise, and readable, requires little effort to comprehend. Such behavior is found, more so, in the comedic styles where the intellect predominates.
On the other hand, it can be subtle, subdued, or even ambiguous, to the point where the audience must search for meaning. This behavior we find in the dramatic styles where strong emotional forces prevail.
PREMISE or THEME. Yet there is a common ground. There is a purpose in each play, a reason for its existence. Almost all plays communicate something, something of worth. Most of the time, this importance and excitement have a profound and predictable affect on us. There are plays with strong social and humanitarian implications while others relate to the pursuit of the ridiculous.
In drama, the premise is highly worthy and has strong rapport with the audience. Powerful opposing forces (polarities) make for empathic characters. The writing is serious and intelligent having compelling arguments. The high moral implications give substance and purpose to the story. Human dilemmas are reflected through vital decisions and their consequences.
AUDIENCE RESPONSE. Identifying this response is a major concern for the creative team, for only then can the director, writer, actors, and the production crew collectively arrange and select the elements and qualities to encourage this vision. This process is a group effort and its determination does not always come easy. It often requires considerable probing of the material through readings and rehearsals along with a spirit of collaboration and open communications.
There is one last critical aspect we should cover namely that of being consistent and faithful to the selected style. If you are doing a mystery with comedic scenes, then they must be done in the style of mystery. This does not mean a tragedy must be all sadness or a comedy all laughs. The style of acting, however derived, must be consistent to the genre of the play. That means serving the purpose of the play and maintaining focus on the overall desired audience response.
Kids Act LA Acting School is playing an important role of mentors in the lives of children who are looking forward to learn acting and other performing arts. The institute has a strong guidance system that could provide complete support and guidance to the prospect performers.
Kids Act LA offers courses designed to teach children the skills needed to get an edge in the entertainment industry. Our mission and ultimate goal is to allow for our children to achieve personal growth and empower them towards substantial achievements in the film TV and commercial industry.
Call us 949 273 8804 for free consultation today!
Or go online at: http://www.kidsactla.com/
