Communication in Theatre Directing and Performance: From Rehears ...

character has somehow overcome those covert manifestations that expose the ‘act’. As a result, the portrayal is imaginative and therefore helps generate an atmosphere of creativity whereby coactors are also able to respond at a deeper level, perhaps drawing on intuitive layers of personal experience unlocked by the processes generated through that enhanced interaction. If, as is suggested here, audiences can recognize when the performer is not emotionally connected to the affective character of the music or drama, then it is important for every performer to find a way to embody the expressive content and to make it believable. In this chapter, I have included an element on styles of dramatic training, outlining comparisons between that of the Royal Academy of Dramatic Art, London, and that of the St. Petersburg Academy, Moscow.

Beyond what is generally agreed about true smiling, there is evidence that there are different fundamental systems at work when movements are either deceitful or actually felt (see Luria 1970; LeDoux 1998; Clore and Ortony 2000; Moss and D’Amasio 2001; Prinz, J.J. 2002;). True smiling, for example, is controlled by limbic cortices, probably using the basal ganglia for its expression (Damasio 1994), both of which are closer in evolutionary terms to the intuitive, so-called reptilian brain than more recent cortical regions of the outer brain layer (McLean 1973), where decision making takes place.

So the latter would seem to suggest that there can be dangers attached to the pursuit of convincing acting² (and managing this as a teacher or director must require certain skills—including the capacity to select