Focusing on Objects and its Impact on developing the Actor's Performance

Abstract

The objects that the actor carries or deals with on stage are part, or rather pictorial and rhythmic rings, that help to compose the formal and substantive form of the actor's art. Theatrical artists dealt with objects under various names, including accessories, or theatrical purpose, but in reality, they are objects of the act of objectification, i.e. the objective equivalent of expressing internal needs, through which the actor can show himself in a deeper and more solid way for the purpose of achieving human communication and establishing the foundations of the circle of relationships in the art of acting, as indicated by the great theatrical theorist (Konstantin Stanislavsky). The actor who tries to reach the depths of the character he is playing must give it the form that expresses the content in all audio, visual and kinetic means. The world of the character he wants to represent cannot be penetrated except by understanding its known worlds and dimensions, and returning it to its social, psychological and physiological roots, because these dimensions are essential elements for moving and harnessing the imaginary and virtual worlds of the art of acting. The actor's understanding of his role and his search for the facts and depths of the character requires him to find the appropriate (things, purposes, accessories) through which he can embody the personal and general dimensions of the actor. However, through the researcher's follow-up of some local and Arab shows, the actor did not pay deep and thoughtful attention to the things he used, but rather he was sometimes confused by them. Or in most cases they come as decoration and outside the general structure of the language and fabric of the show, so they become dull and a burden on the actor. Hence, the problem emerged clearly, and the need to study it became necessary, especially in scientific and academic institutions, such as institutes, colleges and academies of arts that teach theater on scientific foundations, according to the theatrical methods, schools and trends that are taught and taught in Arab theater production institutions. The researcher chose the experimental method for the research, to be a practical applied research that can benefit from its course and results, especially students who want to know the secrets of the acting profession and delve into its performance steps, as we followed the steps of the experimental method in the form of variables and samples on the basis of which the procedural experimentation was established.