ABSTRACT
We want to encourage the Kinesthetic Behavior: to get the actor performing the monologue up and moving. The scene partner is there to witness the performance, and this may also be an opportunity to have them move as well. Their movements counter the speaking actor’s physical movements. Incorporating properties becomes part of the organic physicalizing of the character and not arbitrary movement to use a property just for so-called “staging” or “blocking.” All of this is done with the director’s eye on truthful performance. A vital part of allowing an audience to be a part of the drama is in how the visuals are composed: a careful selection of frame sizes along with a secondary moving master. This method is best to capture the tempo and pace of the scene and has the ability to shoot the scene in one uninterrupted take.
