Acting style

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The term acting style denotes a collection of different ways to describe different qualities of acting. An acting style is always linked to a certain relationship between person and actor, as well as to different cultural practices and historical frameworks.

Acting reforms

The acting discourse has gone through various stages of reform over the past two centuries. In addition to poetics, works on rhetoric, travel reports, biographies and prologues, historical statements about acting can also be found in the entire literature for rejection.

These were downright combat pamphlets that discussed reform proposals for the actor's work, for example by Francesco Riccoboni, who commented on the veristic style in L'Art du théâtre.

Another reformer was Denis Diderot , who in his work Paradoxe sur le Comédien calls for the creation of a new tragedy in which pantomime - the actor's means - is coupled with the action that the actor presents through a speech. He demanded distance from the role and showing a figure. "The paradox now consists in the fact that the actor approaches the fictional character freely and creatively as a subject and produces without empathy, but at the same time deceives the viewer, gives him an illusion of the real." The distancing of the actor from his role is in stark contrast to the demands of Konstantin S. Stanislawski , who, towards the end of the 19th century, advocated true feelings and feelings on stage.

Acting theories and practices

Accordingly, from the 18th century onwards, acting practices were criticized within theoretical treatises - albeit from a somewhat one-sided point of view - since all those that can be located earlier were left in the dark. The historical context and the present image of man played an essential role, as did the recourse to old practices such as Greek tragedy . There were renewed conceptualizations and conceptual extensions. Until the middle of the 18th century it is the comedian who introduces a character or person, and from the end of this century it is the actor or actor who portrays a character. From the 20th century the concept of the figure was used again.

However, the basic principles of imitation and representation were not affected. There was only a change in the technical terms. The actor, whose activity is seen as reproductive, is still - despite many dissenting voices - a generally accepted definition.

"[...] the view that [...] acting in all its forms has to do with imitation and embodiment." (Bauchbach 2012: 23) was further shared. The actor is therefore in a compelling connection with his role and figure and "despite his ability to change, cannot get out of his skin."

That is why the idea of ​​bourgeois drama, the influence of which not only obscures the view of concepts and practices in the 20th century, but also enables inadequate findings for contemporary practices.

On the other hand, there are of course modern forms such as performance , in which the boundaries between self-, re-presentation and presentation are played and the classic principle of imitation is broken.

Acting styles

In order to be able to classify the principles and practices of acting that emerged from the various reform writings, the definition of three acting styles was formed:

This classification includes not only the variants of the rhetorical and veristic style, which are part of the theoretical tradition, but also the Comoediantic style developed by Gerda Baumbach , “[…] which describes a basically ahistorical theater practice, not related to natural constructs. The procedures of this practice include exchange, duplication, reversal, multiplication and fragmentation. " This classification is a purely theoretical construct or model, the aim of which is to examine and analyze various acting practices.

From the late Renaissance until well into the 18th century, all three styles were practiced in parallel, sometimes even in symbiosis. These styles have also been used in mixed form since the 20th century. "In a combination of different methods of presentation, representation and representation / expression, acting [...] proves to be an attitude towards human existence as well as a special mode of human behavior itself." According to this, one can also see the variants of acting, which are divided into styles, as corresponding variants of communication. Acting is therefore a basic model that is made up of different realities and can change culturally and historically, especially through people who are involved - such as the actors themselves and the audience. Therefore one cannot speak of a continuous, linear development of acting technique. There is also the question of adding a fourth style to the acting styles - the media style - as modern theater practice differs fundamentally from earlier models through the use of audiovisual media.

In general, all styles have a special historical framework, but are nevertheless to be seen as conceptual tools with the help of which one tries to characterize forms of acting.

Comoediant style

The articles Trickster # A mythologist in theater and acting style # Comoediant style overlap thematically. Help me to better differentiate or merge the articles (→  instructions ) . To do this, take part in the relevant redundancy discussion . Please remove this module only after the redundancy has been completely processed and do not forget to include the relevant entry on the redundancy discussion page{{ Done | 1 = ~~~~}}to mark. Norms A. ( Discussion ) 5:15 p.m., May 4, 2015 (CEST)

In the comedy style, also known as comedy style, the actor appears as a mask or as a type and can transform himself into an object as well as a subject. As an artistically controlled instrument, he uses his body as a plaything. This style is characterized by an exaggerated, grotesque, and acrobatic use of the body.

Origin of the term

Originally, until the 18th century, the comedian did not refer to what is now commonly associated with the generic term comedy . It referred to the actor, but not the comedian. Comedy also generally describes theater play without a specific genre name. However, these terms have changed and also decreased over time. Because from the second half of the 18th century the term comedian became more and more differentiated and besieged with devaluation and disdain. But also within the comedic there was an increasing differentiation of different forms. The terms “highly comical” and “lowly comical” were coined. The comedic style emerged from the practice of medieval jugglers and minstrels. The original etymological name of Gaukler is movement, as the word comes from the basic form: “gaug-, gug-, geug-, striking, playful move back and forth” ”. And the tradition of the comedy style can also be attributed to the movement, as it is artistically shaped and involves telling stories with the whole body in the form of body movements.

The variability in the fictional barrier / ambiguity

In addition to physicality, the focus of the comedy style is metamorphosis, as within this representation code the actor can transform himself into a subject as well as an object. In addition, it can also represent several figures or objects. A prop, but also certain postures, gestures or certain facial expressions can be used to change between roles. The decisive factor for this enormous ability to change is the flexibility within or with the fictional barrier. Because this barrier is - unlike in the other representation codes - exceeded, broken or jumped back and forth between real and fictional level in "flying change". This opening / exceeding or non-opening / exceeding is particularly decisive in terms of style, as will be shown in the presentation of the rhetorical and veristic style described below. In general, actor A plays role B in front of viewer C. In the comedic style, however, an artificial character is also switched between the actor and the role, which enables the change.

The actor and the role

Due to the possibility of switching between the levels, the actor is never clearly separated from his role, but also never completely merged with his role, as it appears in the veristic style. There is always some kind of discrepancy between the role and the fictional character. If the change of levels is perfect, the viewer can no longer understand whether he is seeing the actor or the fictional character, although the transformation is not covered up, but is carried out openly. An example of this is a sequence from "Children of Olympus" (Les enfants du paradis). In basic dance steps, the clown creates the various roles that are laid out as the basis for the principle of transformation. The style also breaks through our everyday logic and is characterized by grotesque, sometimes irrational and crazy behavior. This relationship between changing roles and changing levels creates different perspectives, which lead to constant deception and manipulation of the recipients.

The body and body use comedy style

The numerous copper engravings by Jacques Callot offer a possible access to the physical and physical basis of the comedy style. It should be noted that the physicality in this style comes into focus and attracts all attention. The body's center of gravity is on the pelvis, from which the extremities are moved in a dance, albeit not reality-related. The movements of the actor-comedian, which lead into the room to the outside, are decisive for the style. [10] The strong body-relatedness also brings with it the dominance of a sometimes quite coarse form of expression, which expresses itself by emphasizing the body, the body orifices and the existential needs. It becomes clear that this style is artistically shaped and demands a strong body awareness and versatile body training. Especially because due to the multi-layered and varied role changes, new narrative physicalities for various roles have to be created again and again in order to enable an open role change on the stage.

The costume

In the costume, too, you can always find rough shapes. For example, nudity very often plays a central role in comedic style. Nevertheless, the characters can seldom be classified into a certain scheme, they are neither always just serious nor just ridiculous. In this contradiction, humans and animals often meet in nudity. These are caused by certain items such as B. suggests feathers. The faces are often covered by masks or half masks, which is descriptive of the Commedia dell'arte, but can also often be found in the circus. The costume can also be assigned to the different types from the Commedia dell'arte, such as B. a patch suit is common for the harlequin.

Rhetorical acting style

Rhetorical acting style is usually understood to mean those forms of ostentatious use of the body that are based on ideas and rules of ancient rhetoric ("oratory"). The presented text will be prepared in the form of a speech for the audience. This speech is also supported by facial expressions and gestures.

Location in time and space

Theoretical instructions and regulations for a rhetorical acting style emerged in the form of treatises and treatises between the 16th and 18th centuries, especially in the Italian region. These are all based on the example of ancient rhetoric, which is composed of a collection of guidelines for speaking. The main focus was on the rule-based use of the extremities of the human body. With reference to theorists of antiquity, new theaters were founded in the 16th century. This new renaissance theater is particularly the setting for the rhetorical acting style. Theoretically, it is based on “knowing the world through looking and looking”. It sees itself as an academic theater that aims to positively theorize theater. The viewer should gain knowledge from his position and at the same time perceive “thinking as a festive, exhilarating show”. In terms of time, however, the rhetorical acting style extends well beyond the 16th century, because until well into the 18th century it was practiced alongside the comedic style and the veristic style, sometimes even on the same evening. The rhetorical style was also practiced outside the theater. It can be found, for example, in courtly ceremonies, in military regulations and in the art of fencing. In the 18th century this style was also called "Tanzmeistergrazie".

Further developed aspects of a rhetorical acting style can be found, for example, in Bertolt Brecht's acting theory of epic theater. There he invokes, among other things, a “gestural art of acting” and “making visible in the sense of traditional rhetoric”. With him, however, it is a matter of distancing himself from the role by means of alienation. A “rhetorical awareness” of the theater was important to Brecht, especially in order to offer an alternative to the “naturalistic” or veristic way of playing at the theater, which was common at the time.

Elements of a rhetorical acting style also appear in different forms of theater outside of Europe, such as in Japanese No, where offensive masks are used in addition to rhetorical acting practices.

Body use

In the rhetorical acting style, the body use differs depending on whether the actor acts or not acts. In both cases, his body must face the audience. In the rhetorical style, the front of the body is clearly preferred to the rear. In the so-called action position ( passus scenicus ) the role ( persona ) is presented. The body focus is on the head and chest, including arms and hands. Posture and gestures are used representative according to the status and according to rhetorical rules. The play is even, well-proportioned, harmonious and aimed at mediocrity. In the rhetorical acting style, the focus is on the head and chest as opposites to the abdomen and abdomen. The head and chest stabilize the body. Through them, the body's center of gravity is clearly shifted upwards. A desired result of this focus is to walk upright. When the actor is not speaking, he assumes a resting basic position, which is also known as a stage cross ( crux scenica ). The body weight is shifted to one leg (standing leg), the other leg (free leg) is placed in front of it, with the tips of the toes pointing in opposite directions. By slightly flexing the front knee, the pelvis gets into a desired tilt. It is important not to keep the hands too close to the upper body and also never to bring them below the belt line and above the eyes.

language

Language, in the sense of the spoken word, is the mediator of representation. Body language is subordinate to spoken language and only has an illustrative character. The rhetorical acting style is about producing linguistic images from internal processes. Voice, gestures and facial expressions always have to complement each other.

costume

The costume in this acting style can be contemporary clothing as well as costumes according to the declamation rules of the Roman rhetoric according to Cicero and Quintilian or even costumes à la romaine (breastplate, hip skirt, plume). The central point is that the costume makes the actor identifiable as an “outstanding, socially prominent person”.

Relationship between fiction and reality

The separation of role-person and role-bearer is kept open in the rhetorical acting style. Role bearer and role person are represented by certain body signs, whereby these two levels are understood as separate for the actor and for the audience at the same time and are nevertheless in an apparent tension to one another.

Veristic acting style

This style can be described as a kind of naturalization of the rhetorical style. Through the active use of facial expressions and gestures, the body functions as a means of expressing states of mind and is an instrument for depicting a moral nature of human beings.

Origins

From the first half of the 18th century, the transition from the rhetorical to the veristic style began. The bourgeois image of man of the Enlightenment as well as the sensualism included with it according to the ideal of the civilized and decent nature of man, which is governed by common sense, are prerequisites for this.

In general, in the course of the Enlightenment, a new society emerged in which orality and public speaking were increasingly being replaced by written form as media of dissemination. Therefore the rhetorical concepts got into trouble. The ideal of the new, enlightened, natural human being had socio-critical backgrounds that go hand in hand with the rising bourgeoisie. In a sense, the Veristic Style can be seen as a criticism of aristocratic representation at the time. In addition, it seems to be the answer to the inherent need for the true and natural . In general, it corresponds to the increased dedication to human behavior and its motives for moralizing and educational purposes.

Numerous treatises such as by Luigi Riccoboni or Gottsched's theater reform written in the German-speaking area formed a literary theater that set itself apart from prevailing theatrical practices and rose as the “highest” stage art. With this new theater idea a “natural” way of playing was postulated. The actor was first named an artist. Posture, facial expressions and gestures had to be adapted or subordinated to the text, with the aim of depicting representative “people” in the form of “characters”.

In further respects, the Veristic style, based on the 18th century, is a pioneer of modern acting methods such as Method Acting .

Body use, language and costume

While the rhetorical style uses external signs of the upright body to express certain passions, the veristic style focuses on the face and hands to convey feelings. The body is no longer an exhibition space, but becomes a sign itself (or rather serves as a projection surface for emotions), since all body movements are geared towards the unity of a character who should show itself even in the smallest movements. In the sense of the Veristic Style, the acting body use should not refer to the person playing himself, but only to the role to be performed. The inner and outer life is conceived as a match.

For example, Lessing writes about the actor in the Hamburg Dramaturgy :

"He must pass from one emotional movement to the other, and know how to make this transition so natural through the silent game that the viewer is carried away by no leap, but by a quick but noticeable gradation."

But the function of language also shifted in the veristic style, especially from the end of the 19th century. Language is no longer the medium of representation, but is represented itself. It appears as "natural" language, as a linguistic gesture and / or a simple "speech act".

Accordingly, the clothing is also contemporary and serves naturalness.

The relationship between fiction and reality

The actor should create the appearance of a unity of actor and role in order to fade out the production and only show results. The viewer must be able to empathize with the role person. Not fiction, but entertaining the traits of a character with the representation of the truth should be presented. In contrast to the comedic and rhetorical style, a kind of absolute illusion is created, as if there was no fiction on the stage. Reference is made here to the concept of the fourth wall .

literature

  • Balme, Christopher, Introduction to Theater Studies. Berlin: E. Schmidt, 2008.
  • Baumbach, Gerda, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012.
  • Brecht, Bertolt: New technique of acting. In: ders .: Writings on the theater. About a non-Aristotelian drama. Frankfurt / M .: Suhrkamp, ​​1957.
  • Dresen, Adolf (2002): The rhetorical deficit - about the difficult relationship between affectus et intellectus. In: Bayerdörfer, Hans-Peter (ed.): Voices, sounds, tones. Synergies in the scenic play. Tübingen: Narr 2002. pp. 375-392.
  • Fischer-Lichte, Erika (2004): Aesthetics of the Performative. Frankfurt / M .: Suhrkamp 2004.
  • Fischer-Lichte, Erika: Semiotics of the theater. An introduction. Vol. 2. From “artificial” to “natural” signs. Baroque and Enlightenment Theater. 3rd edition Tübingen: Narr, 1995.
  • Hammerl, Katrin, "... that the actors on the stage and the audience in the hall are of the same substance ..." - Acting analysis of the production of Job by Johan Simons. University of Vienna, Institute for Theater, Film and Media Studies, 2011.
  • Heinze, Helmut: Brecht's aesthetics of the gestural. Attempt at a reconstruction. Heidelberg: Carl Winter Universitätsverlag, 1992.
  • Kocinta, Hüseyin: Rhetorical acting style: Movement sequences on German stages in the 17th / 18th century. GRIN Verlag 2013, ISBN 3-656-37690-5
  • Košenina, Alexander: anthropology and acting. Studies on "eloquentia corporis" in the 18th century. Tübingen: Niemeyer, 1995.
  • Kotte, Andreas, theater studies. An introduction. Cologne, Weimar, Vienna: Böhlau Verlag, 2005.
  • Kotte, Andreas: “Theater Studies”. 2nd edition Stuttgart: UTB, 2012.
  • Lessing, Gotthold Ephraim (2003): Hamburg Dramaturgy. Stuttgart: Reclam 2003.

Individual evidence

  1. ↑ See: Kotte, Andreas: Theaterwissenschaft. An introduction. Cologne, Weimar, Vienna: Böhlau Verlag, 2005. p. 169.
  2. ^ Riccoboni, Francesco: The art of acting. Berlin: Henschel Verlag, 1954.
  3. ↑ See: Kotte (2005). P. 170
  4. ↑ Denis Diderot: The paradox about the actor. Insel Verlag, Berlin 1964.
  5. ↑ Kotte (2005), p. 170.
  6. ↑ See: Kotte (2005). P. 171
  7. ↑ See: Kotte (2005). P. 181
  8. ↑ See Baumbach, Gerda: Actors. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. pp. 19–22.
  9. ↑ Baumbach (2012). P. 23
  10. ↑ See Baumbach (2012). P. 27
  11. ^ Kotte (2005). P. 178
  12. ↑ Kotte quoted from Baumbach (2005) p. 179
  13. ↑ See: Kotte (2005). P. 179
  14. ↑ See Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. p. 258.
  15. ↑ Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. p. 232.
  16. ↑ Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. p. 232.
  17. ↑ See Andreas Kotte, Theaterwissenschaft. An introduction. Cologne, Weimar, Vienna: Böhlau, 2005. p. 179.
  18. ↑ See Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. p. 265.
  19. ↑ Christopher Balme, Introduction to Theater Studies. Berlin: E. Schmidt, 2008. p. 125.
  20. ↑ Cf. Katrin Hammerl, "... that the actors on the stage and the audience in the hall are of the same substance ..." - Acting analysis of the production of Job by Johan Simons. University of Vienna, Institute for Theater, Film and Media Studies, 2011. P. 28 ff.
  21. ↑ See Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. p. 258.
  22. ↑ See Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. p. 156.
  23. ↑ See Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. p. 263.
  24. ↑ See Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. p. 157.
  25. ↑ See Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. S. 156f.
  26. ↑ See Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. p. 263.
  27. ↑ See Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. p. 263.
  28. ↑ Cf. Katrin Hammerl, "... that the actors on the stage and the audience in the hall are of the same substance ..." - Acting analysis of the production of Job by Johan Simons. University of Vienna, Institute for Theater, Film and Media Studies, 2011. P. 26 f.
  29. ↑ Cf. Katrin Hammerl, "... that the actors on the stage and the audience in the hall are of the same substance ..." - Acting analysis of the production of Job by Johan Simons. University of Vienna, Institute for Theater, Film and Media Studies, 2011. p. 25.
  30. ↑ See Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. P. 156 ff.
  31. ↑ Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. p. 158.
  32. ↑ Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. p. 264.
  33. ↑ Cf. Katrin Hammerl, "... that the actors on the stage and the audience in the hall are of the same substance ..." - Acting analysis of the production of Job by Johan Simons. University of Vienna, Institute for Theater, Film and Media Studies, 2011. p. 26.
  34. ↑ See Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. p. 159.
  35. ↑ See Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. p. 164.
  36. ↑ Cf. Geitner, Ursula (1992): The language of adjustment. Studies of rhetorical and anthropological knowledge in the 17th and 18th centuries. (Studies on European literary and cultural history. Eds. Fritz Nies and Wilhelm Voßkamp.) Tübingen: Niemeyer, 1992. p. 333.
  37. ↑ See Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. p. 166.
  38. ↑ See Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. p. 265.
  39. ↑ Cf. Graf, Ruedi: The professor and the comedian. On the tension between Gottsched's theater reform and the Schaubühne. In: Rudin, Bärbel; Schulz, Marion (ed.): Reason and sensuality. Contributions to the theater era of the Neuberin. [Writings of the Neuberin Museum; 2] Reichenbach im Vogtland, 1999. p. 136.
  40. ↑ See Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. p. 164.
  41. ↑ See Fischer-Lichte, Erika (2004): Aesthetics of the Performative. Frankfurt / M .: Suhrkamp, ​​2004. p. 141.
  42. ^ Lessing, Gotthold Ephraim (2003): Hamburgische Dramaturgie. Stuttgart: Reclam, 2003. p. 91.
  43. ↑ See Dresen, Adolf (2002): The rhetorical deficit - about the difficult relationship between affectus et intellectus. In: Bayerdörfer, Hans-Peter (ed.): Voices, sounds, tones. Synergies in the scenic play. Tübingen: Narr, 2002. p. 381.
  44. ↑ See Gerda Baumbach, actor. Historical anthropology of the actor. Volume 1. Acting styles. Leipzig: Leipziger Universitätsverlag, 2012. p. 266.