Intellek en impuls : ’n studie van die akteur se intellektuele fakulteite

Steyn, Louisa (2017-12)

Thesis (MDram)--Stellenbosch University, 2017.

Thesis

ENGLISH ABSTRACT: Acting is not normal behaviour: during everyday life, man is relatively unaware of the functioning of his organism. The art of acting, however, requires the actor to reorganise his being to produce seemingly spontaneous behaviour, in spite of his awareness of the character’s experiences and his knowledge of the outcome of the character’s story. This paradox is especially challenging for the actor that relies on his intellectual faculty whilst acting. The calculating and analytical intellect attempts to control the actor’s interaction with his fellow-performer and the given circumstances of the play. This usually leads to the production of clinical or mechanical acting, which cannot capture the spontaneous passion or exuberance of impulsive interaction. As a result of this occurrence, the intellect is seen as an obstacle in acting theory and intellectual actors are often met with a sense of impatience or even regarded as less talented. Actors are advised to “stop thinking”. When we regard acting as a holistic art form, where the actor is required to utilize his entire being, the intellect must also play a significant role in the creative process of acting. In this study I therefore suggest that the intellect is not an inhibiting faculty in acting, but that it is rather the actor’s over-dependency on his intellect that inhibits spontaneous acting. From personal experience as an intellectual actor, I investigate the interactive functioning of the actor’s body-mind to identify the potential role of the intellect during acting. This knowledge is utilized to develop exercises with the goal to guide the intellectual actor and to balance the functioning of his organism as a whole. An attempt is made to align the thoughts of the actor, so that he knows not to “stop thinking”, and to learn “what to think” during acting. The actor’s focus should be on the immediate experience of the character’s situation, rather than an analysis of the character. This study investigates the role of the intellect during creative creation of a logical framework within which spontaneous behaviour can be produced. The abovementioned abilities of the actor’s intellectual faculties are evaluated practically in the form of exercises applied in practice.

AFRIKAANSE OPSOMMING: Toneelspel is nie normale gedrag nie: in alledaagse gedrag is die mens relatief onbewus van die funksionering van sy organisme. Toneelspel vereis daarteenoor dat die akteur die funksionering van sy organisme herorganiseer om klaarblyklike spontane gedrag te produseer, ten spyte van die feit dat hy bewus is van wat die karakter ervaar én wat in die karakter se toekoms gaan geskied. Hierdie paradoks is veral uitdagend vir die akteur wat op sy intellektuele fakulteite staatmaak tydens toneelspel. Die berekenende en analitiese intellek poog om die akteur se interaksie met mede-performer en die gegewe omstandighede van die toneelstuk te beheer. Dit lei egter tot kliniese of meganiese spel wat nie die spontane lewenslustigheid van impulsiewe interaksie vasvang nie. Weens hierdie rede word die intellek gereeld as ’n struikelblok in toneelspelteorie geskets en intellektuele akteurs word dikwels met ongeduld ontmoet of word as minder talentvol geag. Akteurs word aangeraai om “op te hou dink”. Indien toneelspel ’n holistiese kunsvorm is waarin die akteur sy volledige organisme moet betrek, moet die intellek ook ’n toepaslike rol in die kreatiewe proses van toneelspel te speel hê. In hierdie studie stel ek dus voor dat die intellek as sulks nie ’n inhiberende fakulteit is nie, maar dat die akteur se oormatige afhanklikheid daarvan inhiberend is. Vanuit my eie ervaring as intellektuele akteur ondersoek ek dus die interaktiewe werking van die akteur se body-mind om die potensiële rol van die intellek tydens toneelspel te identifiseer. Met hierdie kennis word oefeninge ontwikkel met die doel om die intellektuele akteur te lei om sy intellek te kultiveer en te balanseer in terme van die funksionering van sy organisme as geheel. Daar word gepoog om die akteur se denke te belyn, sodat hy weet om nie “op te hou dink” nie, maar eerder leer “wat om te dink” tydens toneelspel: die fokus moet op die onmiddellike ervaring van die situasie van die karakter bly, eerder as op die analise van die karakter self. Die intellek se rol in kreatiewe skepping van ’n logiese raamwerk waarbinne spontane gedrag voortgebring kan word, word ondersoek. Die bogenoemde vermoëns van die akteur se intellektuele fakulteite word in praktiese oefeninge in die praktyk toegepas en geëvalueer.

Please refer to this item in SUNScholar by using the following persistent URL: http://hdl.handle.net/10019.1/102915
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