Basic Stage Movement and Business

MovementVisible movements, such as entrances, exits, crosses, sitting, and rising, draw focus (the attention of the audience).

All movement should be in character.

All movement should be motivated.

Make every movement count.

EntrancesGet into character BEFORE the entrance. Begin your entrance in the wings. At least 5 to 6 feet away. Focus in the Wingsbefore you are about to make your stage entrance.If 2 characters share an entrance, the speaking character should enter last.

ExitsRemain in character until you are 5-6 feet into the offstage area.

If the exit requires a long cross, make sure the last few lines are spoken near the exit.

When several characters exit at the same time, the character with lines should exit last.

CrossesStage Crosses - movements from one stage area to another. Generally the actor takes the shortest, most direct route, which is a straight cross. Straight crosses convey strength and determination (strong). Most crosses are made downstage (below) standing characters and upstage (above) seated characters.At times acurvedcross is necessary to convey casualness, hesitation , or doubt (weak).

Always begin a cross with the foot nearest your destination. This keeps the body turned toward the audience.

Counter-CrossActors adjust to each others cross by using acounter-cross.

A counter-cross is a movement in the opposite direction to balance stage picture

If you find yourself in the direct path of anothers cross you may counter by giving way a little and then by adjusting your position after the cross.

Crossing on a LineIf you are speaking and must cross the stage, walk in front of the othercharacters. If you need to cross when others are speaking, cross quietly behind them. It is generally best to avoid moving when another character is talking, as your movement you will steal attention from the speaker. Themoving figure dominates!If two actors cross the stage together, the one with more lines should be upstage, a short step ahead of the other actor.

Backing UpThis is a weak move and should be avoided unless the move backward makes a dramatic point. Turning Always turn toward the audience unless your director tells you otherwise.

Walking up/ Down stairsPractice leading with the toes and coming down on the heel without looking down at the steps.

Avoid bouncing up and down the stairs. Before descending a flight of steps, pause slightly, drawing attention to the movement.

Sitting Approach the piece of furniture without staring at it. Dont telegraph the move. Stop in front of chair touch BOTH calves to the chair without moving it.

Avoid plopping or slumping into an easy chair or sofa (unless your character would do so). Sit near the front edge of the chair to make rising easier.

Avoid crossing your legs onstage. Females sit with ankles crossed or one foot slightly in front of the other; males sit with legs slightly apart.

RisingKeeping the back straight, push up with the upstage leg. Next, shift your weight to the downstage leg, allowing you to move forward with the upstage foot.

KneelingThe downstage knee should touch the floor, helping to keep an open position. When kneeling on both knees, the downstage knee should be lowered first; then the upstage leg can be lowered into position.

GesturesAvoid covering the face with a gesture.When handling stage props such as a telephone or making large gestures, use the upstage hand.

Personal BusinessSmall actions performed by actors such as:looking in a purse, brushing ones teeth, tying a shoe, pouring a drink, knitting. These actions are related to the character and his/her role in the scene.

Movement Notes Stage PicturesStage Pictures and Emphasis

Movement and Stage PicturesBesides being meaningful, movement should also be functional. The audience must be allowed to see and hear the important items.

It is crucial to create focal points that catch and hold the audiences attention.

Stage Pictures and TableausStage PictureEvery moment of a play or scene generates a still image. If at any moment the actors are to freeze the stage picture should be interesting to the eye.TableauMotionless figures representing a scene from a story or part of story.A still image on stage. Often used at the opening or closing of a scene.

Emphasis is used by the director to give focus to the performer or area of the stage the audience should be looking at. There are several types and ways this can be done:Stage Pictures (or composition)LevelsPlanes

Emphasis

Stage Pictures - CompositionComposition is the way the actors are grouped on the stage in an appealing and meaningful arrangement; it is the picture the audience sees onstage.

Direct EmphasisThe focus of the stage picture is on 1 actor

DuoemphasisThe focus of the stage picture is on two different actors of equal importance.

Secondary EmphasisFocus is divided between a group and a main character

Diversified EmphasisUsed when there is a Frequent change in the focus(usually between 5 or more characters)

LevelsThe actual head height of the actor determined by his or her body position -sitting, lying, standing, or elevated by an artificial means such as a step unit or platform

Meaning is created in stage pictures by placing actors at different levels

LevelsThe higher/taller the actor, the more emphasis

PlanesImaginary divisions giving depth to the proscenium stage; an actor moves through the stage planes as he or she moves downstage toward the audience or upstage away from the audience

PlanesThe depth of an actor onstage (how close an actor is to the audience)

DiagonalsCompositions where the actors are not on the same plane. Often used to create a feeling of tension

TrianglesUsed where 3 or more actors of equal focus are onstage

Directors often times use WHERE the actor is on stage (location) in order to place emphasis.Emphasis

Take strong crosses downstage (below) other actors, weak crosses upstage (above). Most crosses are made downstage (below) of the standing character and upstage (above) seated characters.Strong and weak crosses are determined by the purpose of the movement and the lines spoken. The shortest distance between two points is usually the best guide for a cross. A cross can be softened by moving in a curved pattern. Curved crosses can be used to convey a casual approach, hesitation, or doubt.

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