As part of the activities of the twenty-third session of the Kuwait Theater Festival, an artistic workshop entitled Directing and Body Language was held, presented by director Khaled Al-Ruwaiei, in the corridor of the Shamiya Theater, with the participation of a number of young male and female trainees.
During the workshop, Al-Ruwaie highlighted the importance of the body in the process of theatrical directing, indicating that the body is almost idle in Arab theatres, which rely only on the leg and the hand, and therefore new doors and illumination must be opened, as God Almighty created us in the best manner and honored us with this body. – Very smart – and it should be exploited to the best of its ability, especially since theater is the fertile ground in which the appropriate climate exists for translating this language.
He explained that body language is extremely important to the actor’s performance, and what is meant here is not expressive performance or dancing, but rather that depends on the nature of the theatrical performance, and the show does not necessarily have to be from the realistic school or the classical school, but rather the body must have a soul so that we can employ it. On stage properly.
Al-Ruwaie described Kuwait as a fertile environment for theatrical workshops, and therefore it is natural that there is a desire to participate, learn, and love new things, stressing that theatrical work does not end with a certain experience, but rather it always requires practicing and discovering new things that have never been set foot on the theatrical stage before.
Regarding the basics of body language for beginners, Al-Ruwaie worked at the beginning of the workshop on discovering the nature of the participants, and the cognitive references from which they came, in order to overcome the tasks of his job as a professor in identifying the type of trainees, in order to deal with them in the style they prefer, so that the workshop will be influential and useful for everyone.
He pointed out that reactions through facial expressions are not included in the overall composition of body language, but rather are more biased towards gestures. When the actor moves on the stage and in front of this theatrical space, he turns into a mass, and what is important is to deal with this mass in a good, special and balanced way. This is Output hand. As for acting, the actor must use his mind to move his body, through walking, standing, sitting, and hand and foot movements.
Al-Ruwaie explained that there is confusion among some people between the physical performance presented in silent art, such as the works of Charlie Chaplin and Mr. He is the true incubator of this body.
Al-Ruwaie provided a set of advice to the new trainees, including respecting the body and understanding it with full awareness of its great importance, in addition to not exhausting it in things that do not serve it on the technical, health and humanitarian levels, and the necessity of preserving it through exercise, based on the principle that a healthy body resides in a healthy mind.
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