Focus on Things and Its Effect on Developing The Actor's Performance

Abstract

The things that the actor carries or deals with on the stage is considered a part, or rather graphic and rhythmic episodes, that help to form the formal and content form of the actor's art. Theatricals dealt with things under various names, including accessories, or theatrical purpose, but in fact, they are objects of objectification, i.e. the objective equivalent of expressing internal needs, through which the actor can manifest himself in a deeper and sober way for the purpose of achieving human communication and laying the foundations of the circle of relations in art Acting as indicated by the great theatrical theorist (Konstantin Stanislavsky). The actor who is trying to reach the depths of the character that he performs must give it the form that expresses the content in all audio, visual and kinetic means, and it cannot penetrate the world of the personality that he wants to represent except by understanding its known worlds and its known dimensions, and returning it to its social, psychological and physiological roots because These dimensions are essential elements for animating and harnessing the imagined and virtual worlds of the art of acting. The actor's understanding of the cycle, and his search for the facts and depths of the personality, must be found for them (things, purpose, accessories) appropriate to embody through them the personal and general exclusion of the actor.