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dc.contributor.advisorVenter, P. A.
dc.contributor.advisorLuwes, N. J.
dc.contributor.authorGrové, Minette
dc.date.accessioned2015-11-24T10:15:01Z
dc.date.available2015-11-24T10:15:01Z
dc.date.copyright2014
dc.date.issued2014
dc.date.submitted2014
dc.identifier.urihttp://hdl.handle.net/11660/1876
dc.description.abstractEnglish: Through an exploratory and descriptive study, this thesis investigates the fundamentals in creating bodily awareness for the actor. A lack of integrated knowledge, regarding the importance of the role of bodily awareness in actors‟ training and in using the body, has been identified. Various identified fundamentals are compared with the theory and techniques of Movement fundi, Feldenkrais, in order to determine the actor‟s focus areas in creating bodily awareness. In the literature review, Stanislavski‟s system of actor‟s training, and the application thereof by the actor, has been proposed as conceptual framework for the investigation. This study focuses on body as the actor‟s instrument and not on the other instruments, such as voice and speech. Fundamentals identified in this study, include: awareness of tension and relaxation; identifying and changing of habits/mannerisms; knowledge of the body and muscular composition; movement; observation; repetition; changing of thought processes and self-image; re-establishing the connection between thoughts and the body; improving spatial orientation; and co-ordination. The study indicates that the actor should focus on overcoming his own shortcomings and on choosing the relevant method that addresses his shortcomings. The practitioner‟s training and background, as well as the actor‟s objectives, interests and physical limitations, should be the basis when determining what to include in the actor‟s physical training. The study has also revealed that, although there are similarities in the methods on the fundamentals of bodily awareness, each theory is unique as regards methods of training and implementation. It has, however, been found that the methods studied can be integrated in training the actor. The shared goal of the Stanislavski, Alexander, Laban and Feldenkrais methods indeed is the improvement of an actor‟s bodily awareness, as well as the promotion of effective, motivated movements. Through movement the actor will become aware of the factors influencing bodily awareness and the body in general. It therefore also is through movement that the actor will get to know his body, and be able to make a deliberate choice to identify and eliminate the factors affecting the body negatively. Overall, it has been found that movement indeed is the medium through which bodily awareness is developed and advanced. Practical as well as theoretical knowledge has to be gained, as starting point, examining the composition of the body. This study has concluded that an actor should implement and practice the fundamentals for creating bodily awareness on a daily basis. It has also been concluded that there is no ideal method for creating bodily awareness, but that commitment and willingness to learn, as well as the on-going application of the fundamentals, will indeed result in the successful creation of bodily awareness.en_ZA
dc.description.abstractAfrikaans: Die studie ondersoek deur 'n verkennende en beskrywende studie die fundamentele grondbeginsels in die skep van liggammlike bewustheid vir die akteur. 'n Gebrek aan geïntegreerde kennis oor die belangrike rol wat liggaamlike bewustheid vir die akteur se opleiding en gebruik van die liggaam speel, is geïdentifiseer. Verskeie geïdentifiseerde grondbeginsels is met die teorie en tegnieke van die bewegingsleerkundige Feldenkrais vergelyk ten einde vas te stel waaraan die akteur aandag moet skenk in die skep van liggaamlike bewustheid. Die literatuurstudie stel Stanislavski se stelsel van akteursopleiding, en die toepassing daarvan deur die akteur, as konseptuele raamwerk vir die ondersoek. Die studie is ingestel op die liggaam as instrument en nie op ander instrumente van die akteur, soos stem en spraak, nie. Grondbeginsels wat in die studie geïdentifiseer is, sluit in: bewuswording van spanning, ontspanning; identifisering en verandering van gewoontes; kennis van die liggaam en spiersamestelling; beweging; observasie; repetisie; verandering in denkprosesse en algehele selfbeeld; hervestiging van die konneksie tussen die gedagtes en die liggaam; verbetering van ruimtelike oriëntasie; en koördinasie. Die studie toon dat die akteur daarop moet fokus om sy eie tekortkominge te oorkom en die gepaste metode moet kies wat sy terkortkominge aanspreek. Wat ingesluit word in die liggaamlike opleiding, word bepaal deur die praktiseerder se opleiding en agtergrond, asook die doelwitte, belange en fisieke beperkinge van die akteur. Dit blyk uit die studie dat, alhoewel die bestudeerde metodes raakpunte toon ten opsigte van die grondbeginsels van liggaamlike bewustheid, die teorieë eiesoortig is ten opsigte van hulle opleidings- en implementeringsmetodes. Die studie bevind voorts dat die bestudeerde metodes wel gekombineer kan word vir die opleiding van die akteur. Die Stanislavski-, Alexander-, Laban- en Feldenkrais-metode streef daarna om die individu se liggaamlike bewustheid te verbeter, asook om effektiewe, gemotiveerde bewegings te bevorder. Deur middel van beweging word die akteur bewus van die faktore wat liggaamlike bewustheid en die liggaam as geheel beïnvloed. Deur beweging leer die akteur dus die liggaam ken, en hoe om 'n bewustelike keuse te maak om die faktore wat die liggaam negatief beïnvloed, te identifiseer en te elimineer. Oorkoepelend is bevind dat beweging die medium is waardeur liggaamlike bewustheid ontwikkel en bevorder word. Sowel praktiese as teoretiese kennis moet opgedoen word met 'n ondersoek van die liggaamlike samestelling as vertrekpunt. Die gevolgtrekking waartoe in hierdie studie gekom is, is dat die akteur die grondbeginsels vir die skep van liggaamlike bewustheid op 'n daaglikse basis moet implementeer en beoefen. Ten slotte is bevind dat daar nie 'n ideale metode bestaan vir die skep van liggaamlike bewustheid nie, maar dat die sukses in die skep van liggaamlike bewustheid bepaal word deur die akteur se toewyding en bereidwilligheid om te leer, en die deurlopende toepassing van die genoemde grondbeginsels.af
dc.description.sponsorshipNational Research Foundation (NRF)en_ZA
dc.language.isoafaf
dc.publisherUniversity of the Free Stateen_ZA
dc.subjectF. M. Alexanderen_ZA
dc.subjectRudolf Labanen_ZA
dc.subjectTadashi Suzukien_ZA
dc.subjectMosche Feldenkraisen_ZA
dc.subjectKonstantine Stanislavskien_ZA
dc.subjectBodily awarenessen_ZA
dc.subjectActor's trainingen_ZA
dc.subjectMovement trainingen_ZA
dc.subjectMovement practiceen_ZA
dc.subjectMovement theoriesen_ZA
dc.subjectDissertation (M.A. (Drama and Theatre Arts))--University of the Free State, 2014en_ZA
dc.titleDie fundamentele grondbeginsels in die skepping van liggaamlike bewustheid vir die akteuraf
dc.typeDissertationen_ZA
dc.rights.holderUniversity of the Free Stateen_ZA


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