• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Acting Styles in 'Ruby Moon'.

Extracts from this document...


Assignment: Research Investigation (Ruby Moon) How do acting styles impact the communication of the playwright?s true intentions? Introduction: Playwright Matt Cameron has devised various performance style aspects within the play Ruby Moon. These different acting styles allow Matt Cameron to convey his true intentions. Matt Cameron focuses on the theme of Tragedy. Tragedy is an imitation of an action that is serious, complete, and of a certain magnitude. The tragedy is presented in the form of action, not narrative, as Matt Cameron has depicted. Ruby Moon arouses pity and fear in the audience as it witnesses the action. It allows for an arousal of this pity and fear and creates an affect of purgation or catharsis of these strong emotions by the audience. The tragedy shown in Ruby Moon is serious, the various dark themes deals with profound problems. These problems are universal when applied to the human experience. In Ruby Moon there is an element of inevitability in the tragedy. There must be a cause and effect relationship from the beginning though the middle to the end. Through acting styles this is shown in the development of Ray and Sylvie. Though this is Absurdist Theater, a logical outcome is not necessary. As the audience we believe the conflict will be resolved through the final stages of grieving. The tragedy involves the audience in the action. In a sense we are the lost child of Ray and Sylvie. ...read more.


This is because you have got those base characters of Ray and Sylvie and then the other characters that they become. You often see those other characters once and once only, so if you spend the first 30 seconds of a scene 'bleeding' into them, the audience is going to think, "What's going on?" You've got ten minutes with that person so you have to go 'bang' - this is who we are dealing with. With Dulcie, for instance, stooping into her physicality that helps to take a step into that character.? (Malthouse) Chemistry between the two actors is essential to convince the audience. Even if that chemistry is one of bleak depression. In any case the actors must have an established relationship. Actors should not be line driven when acting but focused on the exploration of grief. They should also provide a realistic and suitable reaction to the line prior to theirs. But depending on the director this is subject to change. For example, in a unlikely and doubtful case, one might reinforce the hopelessness of their relationship and situation, deeply exploring the extent of their grief in an absurdist approach to losing basic communication. In which case the alienation of the characters would work in an effective way. The performance of the actors should not remain at only one tone but at a heightened tension. So, the big challenge in rehearsal is the build trust among the actors to be conformable with the idea of not knowing the absolute truth about some of the characters and narrative presented in this play. ...read more.


In Ruby Moon it is only leading to the climax. Actors need to beware that in Ruby Moon you do not progress through the stages of grief in order nor do you ever recover. As shown in the climax, the two characters have reached a new level of grief, which does not exist. And that is insanity. Past guilt, pain, depression and onto insanity. As shown through acting styles this stage shows the breakdown of relationships and the barrier separating reality from fantasy is broken. The stages of grief are incorporated into transformational acting. When actors switch characters or as the scene progresses, the change of grief needs to be clearly shown to depict the true intentions of Matt Cameron. It is also necessary for the audience to acknowledge that the order is changed to the absurdist nature of the play, and that in the end there is no recovery. Conclusion: The impact of acting styles is very significant to communicate the playwright?s true intentions. Through transformational acting and elements that correlate with it portray Matt Cameron?s true intentions. Such as to show pressures of suburbia, climate of fear and paranoia, struggling conflict between Ray and Sylvie to find answers, dealing with grief and tragedy. Through acting styles in Ruby Moon it has successfully portrayed Matt Cameron?s true intentions. The questions left when the audience leaves says enough. Though this is subject to change due to skill level of different actors. Based on the text and the original play, his intentions have been successfully shown and have set a benchmark for all other plays to follow. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our International Baccalaureate Drama section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related International Baccalaureate Drama essays

  1. In this portfolio I will take you on the journey which I myself have ...

    I had began reviewing work from Georg Kaiser, Oskar Kokoschka and Ernst Toller whom were all highly influential playwrights. As I had already worked hard to gain understanding of this tradition I really hoped I would be able to use this experience.

  2. Escapism and power as entwined themes in Anouilhs Antigone and Ibsens A Dolls House. ...

    No, no, Nora, I can't understand that idea.' He fails to grasp the fact that the reality of his and Nora's marriage has been finally revealed, as he has spent so much time absorbed in his unrealistic version of it, he has convinced himself it is real. Thus, his escapist world is shattered; this renders him powerless to cope with Nora's departure.

  1. Le panoramique assimilateur dans Windtalkers (2002)

    Ce plan, d'environ 34 secondes, fait basculer le film d'une ambiance paradisiaque � l'enfer de la guerre. Il fait la jonction entre la s�quence des indiens soumis aux drapeau am�ricain et � ce qu'il repr�sente et le reste du film qui est enti�rement un tentative de domination am�ricaine sur les japonais.

  2. Free essay

    How does Globalisation affect theatre?

    the same way irrespective of where the McDonald's restaurant is located in the world. (Paul, Clark., 2009. Business and Management. New York:Oxford.) Globalisation is changing theatre everywhere. Writers try to find new opportunities to show their work all over the world; because of this audiences are seeing the stage and the world in a different way.

  1. Augusto Boal and Jacques LeCoq have both had significant impact on theatre, and their ...

    In class, we experimented with the buffoon, and when we had the clown nose on, in a state of naivety, it allowed you to be uninhibited by preconceptions, and allowed you to experience ?play?. When the audience interacted with you, it achieved complicite, and it was great to see how one simple exercise could achieve this.

  2. Which methods could a theatre company use when performing Jean Anouilh's "Antigone", keeping true ...

    When performing this play while applying absurdist theatre techniques, we want to keep this feeling of hopelessness alive and demonstrate the absurdity of life. Anouilh has already created a slight absurd feeling making things easier already. His sophisticated distancing of the plot and constant reminder to the audience of the

  1. How does an actor use Stanislavskis acting principles, in order to fully prepare to ...

    will focus on how an actor playing this role, will use Stanislavski?s method in order to portray the characters characteristics and personality effectively. The Woman in Black is a 1983 horror novella that was adapted by Stephen Mallatratt in 1987.

  2. How does an actor use Stanislavskis acting principles, in order to fully prepare to ...

    ?Stanislavski?s mature activity can only be understood if it is seen as rooted in the conviction that the theatre is a moral instrument whose function is to civilize, to increase sensitivity, to heighten perception and, in terms perhaps now unfashionable to us, to ennoble the mind and uplift the sprit? (Benedetti 2008)

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work