"We use shape, rhythm, and energy to build character."
The mantra I have for my students to start approaching physical characterisation is always the same.
I teach them how to use ‘shape, rhythm, and energy’ as tools to approach their character work.
Let’s start with Shape…
This is primarily created using the three centres which is about body composition and placement. This includes the head, chest, and hips in relation to one another.
Each centre can be positioned along a spectrum of positive (moving forward into the space) and negative (retreating from the space).
This composition builds a character template which communicates certain identifiable attributes and adds meaning to them.
To summarise quickly, the head is identified with data input, cognitive processing, information gathering and sharing, and displays broad power dynamics.
The chest is where the heart is and relates to emotion, pride, and inspiration.
The hips are the centre of the body and affect choices that inform stance (legs), this centre indicates power, action, and vitality.
Shape may be very explicit, particularly in comedic theatre forms that accentuate expressive character work (think Jim Carrey or Jerry Lewis).
Shape might also be subtle and nuanced, with precise, small shifts in the centres to convey meaning to an audience.
Once the shape is understood we can then look at the ‘energy’ of the character.
‘Energy’ in character, generally takes the form of elements…
Earth, Air, Water and Fire are archetypal energies which I use as an entry point to finding the ‘muse,’ or ‘spiritual wisdom’ of a character.
These energy states are easy to understand. A water character flows, a fire character is intense, an air character is erratic and ungrounded, whilst an earth character is grounded and resolute.
Once we assert our energy, we can then find our rhythm…
The breath acts as the internal ‘pace maker,’ or ‘metronome’ of the body and is determined largely by the actors elemental energy.
When we put shape and energy together, a breath is borne out of it which sets the internal pacing into action or movement, which then decides the essential rhythm of the character.
The rhythm is most noticeable in the resulting gestural language and walk of the character. The rhythm enlivens the whole body and helps the actor make specific physical choices.
Rhythm in it’s in own right is a profound language that once established can really anchor the physical base of the character. Because rhythm is essentially derived the from the breath (which is a very embodied function) it allows the actor to feel authentically connected to the character.
I hope this helps!
-Andrew 🙂