Analyzing Body Language in Monologues and Strategies in Rhetoric: Notes
Sir Patrick Stewart
Hallucinations, illusions and visions play an important role in the play. Shakespeare used these tools in several scenes to reveal states of mind, motives, guilt, and regret. In the case of this actor, he used these hallucinations well to express his unique mime. For example, the act of trying to grab a knife, the act of brandishing it, the act of dipping blood to taste, etc. are astonishing. Above all, his play is his husky voice with appropriate sound effects and the tempo adjusted to match it. Reappearing after passing through a dark corridor like the last long tunnel and reciting lines adds to the dramatic effect. In the heat, he moves slowly and speaks in a whisper. At this time, the mind is used to show something realistically as if it were hallucinating. Whether it is his sword or its handle, his inner extreme confusion is well exposed. In the middle section, the actor blinks and laughs as if this confusion has become reality, showing madness. He also pretends to take blood and eat it, and continues to make sly poses. This madness is best expressed by the actors rolling their eyes or raising their eyebrows during close-ups. Macbeth's inner evil temperament is ignited and it expresses the point where it becomes black. When the final bell rings, Macbeth finally makes an evil decision. At this time, after the bell, his eyes are very different. It's calm, but the madness of the wicked is revealed as if he has made some evil plan. You can clearly see what it means for actors to act even with their eyes. It is impressive that he delivered it with calm eyes rather than maniacal struggle to express summoning himself to hell. It expresses the madness that burns in the smoke of death, like a cold pragmatic and a hot colic meeting and igniting.
Here, the stage is a space full of smoke, and the actor is close-up, so you can only see the actor's expression. It is a very difficult play to express the desperate and miserable condition of King Lear only with facial expressions and lines because the stage setting and movements of the actors cannot be seen. However, the actor expresses this dramatic inside with only the fricative sound of the dialogue, emphasis, tempo control, and change of facial expression. In the heat, he speaks very slowly and calmly. He goes on with his words like a sigh. In the first reinforcement, he strongly emphasizes fricatives and proceeds with his words as if he were speaking German quickly and without pause. This well depicts King Lear's situation in which he was abandoned by his daughters. The mere hearing of the fricative sound that follows creates a situation in which fire burns, oak trees split, lightning strikes, and heavy rain pours. In the second installment, he looks into space and rolls his eyes like a distraught old man. He is losing his mind in the agony of betrayal. At this time, the speed of the horse gradually accelerates. As a finish, he is suddenly silent. His breath cut off while running towards the climax at the highest tempo makes him feel as if he is standing right in front of a precipice. He realized his own reality as his own.
There are only three actors standing on the stage without any special stage equipment. The actor begins his speech by fiddling with his hands nervously. He hesitates at first, unable to look straight in the eye. In the middle section, she starts her story at a fast tempo with the action of yanking her fingers. The gaze is also directed downward. But in her second turn, she gradually raises her eyes and sees Ophelia's brother. Her voice rises and cries. When her brother reacts with sadness, she looks at him and tries to touch her face. She continues to cry and continues her story. We mourn and talk about the death of the last poor Ophelia. Her eyes are full of compassion. She doesn't have a stage set, but because she has an actor, her emotions are either maximized or subdued in the interaction. Learning the lines of these emotions, the movements of her fingers, her gaze, her tears, her tempo, her eyes and facial expressions are well expressed.
Actors use their bodies, facial expressions, voices, and stage settings to deliver messages to the audience. It is also helpful for painters who draw pictures to know these psychological expressions and how to portray characters. This is because the act of painting itself makes invisible energy visible. It just becomes a painting tool. In that sense, it is important to express human psychology in detail and rhetorically, like the three actors above. In order to do that, you must first have a basic understanding of human psychology and human beings.
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Myungja Anna Koh