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Acting - Rise of Acting Techniques

A popular Italian comedy, "Troupes of thetheatergoers.Denis Diderot, an 18th century
commedia dell'arte was very popularFrench encyclopedist, became fascinated with
throughout Europe in the early 1600s. TheyGarrick who was on tour in Paris. The actor
would work on makeshift stages and withoutfeeling less emotion is what Diderot believed
scripts. These companies, which includedcould achieve a more consistent and stronger
women actor's spread a new wave between theperformance.Diderot's essay "Le paradoxe sur
actor's and audiences. Actor's improvisedle comedien" (1773; translated as "The
their own words and comic actions using aParadox of the Actor, "1883), compared to
basic plot and character types, which createdfamous rivals who performed at the Comedie
theatrical creativity and would capture theFrancaise, Marie-Francoise Dumesnil and
interest of the audience as a whole group.Hippolyte Clairon.Dumesnil believed it was an
This was so unlike the opera or literaryactor's responsibility to become the
theater, where the emphasis from the audiencecharacter and represented the so-called
concentrated on a playwright's speeches oremotional school. She was very uneven as an
individual. Scenic displays and literaryactor and normally coasted through a
concepts were not common, thus inspiring theperformance until a tragic point was reached.
art of acting.Theatergoers in England by theShe had emotional depth and tremendous
beginning of the 17th century learned how topower. She made claims she new the secrets
distinguish Hamlet by actor-manager, Thomasof great acting. To find out who she was as
Betterton. This was accomplished by othera character, where she was and what she had
productions of Shakespeare's plays. Usingdone, Dumesnil would use prayer. Alcohol
different staging of familiar and classicalstimulation was unfortunately a big part of
plays sharpened spectator's senses. Goodher inspiration.Clarion claimed she created
acoustics were designed into theater halls toher characters through movement and speech
help performers to be heard differently andand not from becoming them or playing them.
to have more subtle and natural reflections.By rehearsing endlessly and perfecting the
Visual details of a performance were easily"look of emotions, she was able to develop a
perceived and critiqued with the introductionnatural and reliable character. She believed
of indoor stage lighting. Individual actor'saudiences applauded the actor, not the
faces and hands were then displayed by thecharacters.By these two actors' comparison's,
indoor stage lighting.Charles Macklin and hisDiderot uncovered polarities of inspiration
student David Garrick became one of the firstand technique.Problems of inspiration and
modern actors on the British stage in theexpressiveness were not solved for other
18th century. Commedia-like farces andactors, however. For example, any schools or
pantomime was Charles Macklin's backgroundtreatises that were left behind seemed to be
and why he was hired, based his charactermore philosophical than technical. Actually
Shylock (a Jewish businessman inwith Garrick's natural school of acting
Shakespeare's "The Merchant of Venice") ondisappeared after his death. It was more of
Jews in London. Lifelike details of movementa fad with British audiences that was
and speech were added to written text. Theseassociated with the actor. Basically,
details might not have been noticed 50 yearsGarrick and the rest couldn't teach their
earlier if not for the stage lighting,techniques.In the 19th century emotional and
acoustic changes and other technologies.Underanti-emotional acting styles of the great
better lighting conditions and moreactors ran in cycles. Actor's of one
plausibility, David Garrick continued naturalgeneration championed the first technique and
acting. Mimicry was brought to the stagethen was replaced by a younger actor who
through Garrick's practices of imitatingchampioned a different technique, which
facial expressions of actual people. In hishappened in every country. The romantic and
performance of Shakespeare's King Lear,emotive Edmund Kean followed Sarah Siddons,
Garrick used a crazed neighbor to reenact thewho followed Garrick and so on.The limelight
accidental killing of his infant daughter.gave way to the rise of gas lighting and then
Garrick never dropped his character during aon to electricity. More and more physical
performance and he would listen and react indetail appeared on stage and costumes and
character to all the dialogue around him.scenic displays grew in complexity and size,
Because of this, he was very popular withwhich dwarfed the actor.



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