An essential tool in actor education, movement training is often viewed as esoteric and difficult to apply directly to an actor’s craft. It varies widely from institution to institution, and covers anything from stage combat to Alexander Technique. One never knows what they will encounter upon entering a movement class, and students frequently have difficulty connecting work done in the movement studio to work done in the acting studio. In order for movement training to become better integrated and more easily identifiable as a necessary part of actor training, it is important to get to the essential qualities that all movement training is designed to teach. In my thesis I will explore the tenets of Stanislavski and identify the core concepts of physical work that can be found in most movement disciplines. I will conclude with an exploration of my personal experience teaching movement for actors at the junior level.
| Identifer | oai:union.ndltd.org:vcu.edu/oai:scholarscompass.vcu.edu:etd-3448 |
| Date | 09 May 2011 |
| Creators | Ressegger-Slone, Elizabeth |
| Publisher | VCU Scholars Compass |
| Source Sets | Virginia Commonwealth University |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | Theses and Dissertations |
| Rights | © The Author |
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