The specificity of preparing an actor for a role in documentary theatre - applied models | ||
| Arts and Architecture Journal | ||
| Volume 6, Issue 1, June 2025, Pages 281-298 PDF (763.75 K) | ||
| Document Type: Original Article | ||
| DOI: 10.21608/aaj.2025.413136.1136 | ||
| Author | ||
| Ruba Alhaidari* | ||
| Lebanese University | ||
| Abstract | ||
| Abstract Documentary theater addressed issues and events that touched reality and society, relying on the experiences and testimonies of real people. this form were distinguished by their specificity in direction, and was reflected in the actors' performances, who found themselves faced with there freedom in choosing acting techniques and tools to perform, while they are restricted by dealing with documents and real people words. From this perspective, the representation was divided into two types. The first is based on the theory of the witness-actor, whose transport the document to the audience, without engaging in acting, according to Weiss's and Brecht's method of alienation, especially if the purpose of the presentation is political or social. While the other type, consider that the actor should use his creative and artistic tools to prepare the script and the character, without ignoring the facts presented by the documents, in order to maintain the authenticity of the performance. In the examples of the performances mentioned in this research, actor uses known acting methods, and adapts them in his preparation for the role, according to documentary theatre formes, such as verbatim, testimonial, and biographical theatre. In addition, to the distinctive styles of some performances, such as recorded delivery style by Aleky Blyth's, or the reenactment adopted by Milo Rau in the courts he reconstructed. | ||
| Keywords | ||
| Documentary theatre; Role preparation; Acting; Verbatim theatre; Testimonial theatre; Biographical theatre; Narrative theatre; Reenactment; Recorded delivery | ||
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