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Motivated Movement

Movement is the use of the body to tell one’s story. It is the ability to create internal thoughts, feelings, needs, and desires using the body for movement. It can also reveal something about the person’s life and background. Movement is encouraged from the perspective of the character, not the player playing him. It is justified in terms of behavior and the following are the most common reasons.

Travel Incentives

To get what I want or need

To express my feelings

To relate to another person or thing

Giving my opinion

Establishing a relationship

Doing some work

Holding something

Entering or exiting a specific location

Moving to a comfort zone

Fighting or avoiding conflict

To find a good viewing spot

Some Things That Affect Travel

Age: Child, youth, adult, middle age, elderly

Relationship Status: Leader, obedient, egalitarian

Occupation: Worker, secretary, supervisor, manager

Relationship: Beloved, friend, friend, stranger, enemy

Past: Attitude, manners, attitude, education

Self-esteem: Confident, insecure, insecure

Mental & Physical Skills: Slow, fast, restrained

Disability: Physical disability, illness, drug abuse

Environment: Habitat, climate, culture

Clothing: Free-flowing, restrictive, sophisticated, casual

Choosing to travel is not easy. Our dramatic courses focus on the oral side of drama. Communication becomes easier to explain and communicate. However, without speaking, they want to carefully study the life and behavior of a person, to recognize, isolate, and clarify their messages.

Moving can be difficult, as there are many aspects to consider. In addition, management research has different definitions. However, if we divide the parts into groups, then we can choose what suits our culture and the story. This can simplify the selection process and establish areas for development of life lessons (people watching). The options provided are examples and do not cover all types of options.

TYPE MOVEMENT

Full Body:

Walking, running, crawling, sitting, standing, aerobics, etc.

Alone: A slight movement of the body

To give, to throw away, to give

To receive, to hold, to take

Lifting, holding Pulling, pulling Pushing, sliding

Hit, hit, hit

How It Happened:

Open: Out, free, unlimited

Blocked: About to be blocked, blocked

Weight: Both physical and/or emotional, heavy to light

Strength: The internal forces behind movement, strong, weak

Dimensional Aspects: Wide & wide, narrow & small

Tempo: Fast, slow, steady, variable

Movement: Straightening, bending, twisting, turning

In the following example, the character’s main goal, his desire, conflicts with his doubts. As a rule, it is difficult to express the negative words at the same time using only the body. To make it clear, one must first say one thing, then the other, so that the audience can recognize the argument by distinguishing the body shape. However, it is possible to distinguish at least one conflicting time and movement. Often the movement represents a greater truth.

Alone in her living room, Sheila waits for her blind date to arrive. A timid and shy 37-year-old woman, now divorced for five months, is worried about the idea of ​​dating again. Their phone conversation has raised hopes and doubts and now they are facing uncertainty. How can you use it to show the situation and how he feels while waiting for his date and then the doorbell rings?

The main idea would be the conflict between the desire to have a friend and his fear of the unknown, his self-doubt. In addition, the obstacles of being afraid and shy would increase his fear. This conflict can be recognized through two sets of movements, one driven by desire and the other, driven by fear. As he waits, his thoughts and intentions shift back and forth.

I start by getting ready for the day, putting her coat and bag on the chair, checking her watch, and scrolling to the screen to see if her date is coming. Then he turns away from the window, like a self-doubt above. As he walks, he stops at the mirror and looks at himself, seeing Sheila as if he could see her. Uncertainty slowly turns to confidence and he stands tall.

Now that he was in control, he decided to sit down and wait. However, his eyes wander as a new fear sets in. Then she changes her dress, remembering the good times. The tension comes again when her hands come together and he sees the diamond wedding ring she still wears. Holding it close, brings back the romantic feelings of dating long ago.

Then, suddenly the doorbell rang. He breathes slowly and remains between flight and fight. He overcomes the urge to run and slowly stops, taking deep breaths to regain his courage. He is going to the door as if he is being pushed. When he gets there, he hesitates to catch the latch. Then, forcing a smile, he opens the door.

See how this top model uses a wide range of motion and power. This creates a very attractive, deep character.

With all the gestures and gestures, it’s best to do less and make the content you use look and feel better. In addition, it must be relevant to the story and relevant to the character and his relationships. Remember that the outer actions of the body reflect our inner experiences. It is our bodies, our movements and our gestures, that reveal to others our thoughts, our desires, our thoughts, our intentions, and our desires. Movement should be such that even a deaf person can understand what is going on.

People watching and learning from award-winning content are the best ways to adopt the strategies outlined here. In your research, note the effective use of hand gestures, and how the use of gestures that are consistent with the dialogue and presentation of the story can improve performance. Match your findings to short exercises so they become a natural part of your repertoire.

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