STAGE FRIGHTA feeling nervous or hesitant before an actor takes the stage, or a feeling of fear or panic that can be an indication of social fear. Conquering Stage Fright 20The criteria for matches 1, 3 or 5 stars are a fascinating study. Critics seem to focus on the sports skills that are shown in the game. The trains run have a new meaning; Anything that “seems wrong,” such as the clear air between shots or an opponent who visibly helps build a train, is reprehensible. But spectacular movements are not the only measure. The psychological aspects of a wrestling match, which mark wrestling as almost unique to any other sporting activity, are considered as important as physical play; Games should tell a logical story and, curiously, have a strong sense of realism. Thus, if a competitor suffers from an injured left arm (and for consistency, it is usually the left arm), the opponent must continue to focus on this vulnerability and not start attacking a completely different area or ignore everything together. Similarly, a smaller and lighter opponent should use his speed and mobility to minimize the inherent physical disadvantage, and a wrestler who would otherwise be outdone, that the public would lose comfortably, should win a foot (perhaps by dishonest means or a stroke of luck) that convinces the public that he actually has a chance to win. You see, it`s not just a matter of theory; Depending on how the actors understand the nature of the theatrical process, the results may be different. If comedy is a pre-text, they become “directors” of the audience, or at least “conductors” of the audience, a dramatic experience.
We talk so much about an actor as an instrument, but under this new concept of pre-text, we should also see all the audience as instruments — and the “products” of the show. They are in a passive position, they, the audience is the real drama! Here, we find common ground for method and biomechanics, because we are not talking about how actors produce dramatic chronotop on stage, but inside the audience… Holding for A LAUGHA risky practice, this includes the actor and director planning, where the audience will laugh, and put appropriate breaks in the action, or make sure that nothing important is missed when the audience is in the stitches. However, if the audience does not laugh, intermission will slow down the pace of the performance. Actors need to learn to respond to the audience when they react. It is even more dangerous to assume that the audience of tonight`s show will make fun of the same points as the audience of the previous show. The realistic show raises questions about the relationship between the actor and the role played: does the actor only simulate the behavior or, in a way, does he really experience the passions and thoughts of the character? Although this question is at the center of the actor`s art, it has never received a satisfactory answer. The clearest statements of the problem were published in The Paradoxes on the Comedy by Denis Diderot (written in 1773, published in 1830; The Paradox of Acting), then commentary by William Archer in Masks or Faces (1888). PHYSICAL THEATREPhysical Theatre is a kind of performance that uses the body (contrary to the spoken word) as the primary means of performance and communication with the audience.