Description
The primary aim of this essay is to provide a reflective narrative and an experience and learning based enumeration of the role of embodiment, physicality, and movement in my experience of this module, with specific reference to my experience of creative process and presentation. This is my enumeration to understand the significance of the stated factors through the lens of drama and the association of the same with performative applications. Drama is performance arts and involve a lot of physicality, expression, and emotions to rightfully capture the essence of the drama and performance arts. Without the embodiment within the physicality, complimented by adequate and strategic movements, drama becomes a lifeless art form. Via this essay, I will enumerate my experiences using one of the most popular reflective models as proposed by Gibbs, touching on six primary facets – description, feelings, evaluation, analysis, conclusion, and action plan. Via this enumeration, I aim to prove the relevance of embodiment, movement, and physicality in performance arts with experience-based approach.
Throughout my journey and experience in performance arts, I have felt that the creative process really embodies us in more ways than imaginable. It is a journey that transcends through creation and representation. Drama has always been about transcending those barriers and creating a healthy balance of creativity and representation. And these representations involve a lot of physicality and movements, that truly embodies the roles and responsibilities of performance arts and drama in its essence. For me, the creative process is not just an act or action. It is an entire state of being that allows me to be prepared for my performance arts and truly embody and master the skills of drama and performance enumerations. This allows me to understand thew intricacies of performance arts better and understand the significance of clear and pristine delivery of messages via physicality and movements. This can be in various ways like the tone of speaking, the way you look at someone, the subtle expressions, all help bind a drama together and deliver a consistent message throughout. It is these intricacies that make performance arts what it is (Dees, 2003). The creative process in rigorous and exhaustive, however it is all for the perfect representation of the message and various faculties of the drama. Personally, I feel that mostly every aspect of these is intertwined and interlinked to represent a unified idea and project a clear and resounding message to the audience. I feel like my interaction and experiences with the various attributes of performance arts is crucial in the development of my creative processes and improvement of my performance. Because without adequate creativity, expression, movements, physicality and embodiment, performance arts is an empty vessel that carries nothing.
Feelings
I feel the faculties of embodiment, physicality and movements have an active impact on the quality of presence, awareness, relationships, and experience. The strategies and methodologies help in developing and holistic awareness and representation of performance arts to its core. Fundamentally every one have their own representation and assimilation that helps defining them and their creative process, to enhance their performance. For me, the better I understand and put those into practicality, the better I get at my trade craft. It is the method of trial and error for me, for this allows me to know what works and what does not for me. This is crucial for me as I aim to build a mind-physicality connection that unifies my approaches and helps me to create my own rhythm and ripples that connect my movements, physicality, and embodiments seamlessly. This is important for me as any deviation from the connection can impact all the other aspects as well like domino effect and can cause an overall performance and presentation disruption (Dunn & Wright, 2014). I feel like for me performance arts is much more about the experience than the interpretation. For experiences build our ability to comprehend different aspects and attributes and it is important to realise the essence of it in the long run. Drama for me is an outlet to hone my skills and project my emotions, physicality’s, movements, and embodiments, via seamless and intertwined presentations. Hence, for me drama and performance are a part of my creative process that channels me through creative vessels via deft representations.
If I have to evaluate myself, it will be very basic and critical. I feel like I am my worst judge as I focus largely on the negatives to work on and overshadow my positive that others might highlight and make it visible. I strive to better myself everyday and master the skills of representation, movements, physicality, and embodiment. This allows me to fuel my creative process, even update it as we go and boost and enhance my performance via experiences and learning. One of the best attributes of my technique is that I keep an open mind to new techniques and experiences. This allows me to quickly shift to a newer way if the older one is not working or has to be discarded. This is important to me as I constantly try to better myself and create a holistic learning approach for myself. Another good thing about me is that I commit myself to the process of learning and experiences and I love what I do. This allows me to not only enjoy what I am doing, but also helps me to do it for prolonged period of time. It allows me to learn things better and put them into practicality effectively. One of the worst things about my technique is that I really find it difficult to shuffle more than one technique at a time. This creates a somewhat linear approach to my process and hence, creates a lack of diversity.
Evaluation
One thing I have noticed about myself is that I can learn things quicker and adopt a very extensive process to create a holistic view of myself and create a better output of my creative process to present my accumulation of my understanding deliberately. This is important for me because I need to understand my flaws and abilities. By working hard, I try to manage to successfully demonstrate my close association and experience with drama and performance arts, and how crucial embodiment, movement and physicality are to properly project the essence of the art and practice it. (Hermans, 2015). Hence, for me it is important to create an important representation of myself to create a better approach of my skills and trade crafts.
Conclusion
There is no doubt that performance arts and drama have an underlying significance that is facilitated via movements, physicality’s, and embodiments. It is also necessary to create a creative process and representation outlet to project various attributes of the same. However, it is the relentless and practice and skills of an experience that truly creates the process. For me dram is a journey, every new learning opportunity is a journey, every intricacy is a journey, even I myself am at a journey of constant discovery and exploration. Drama and performance arts test my creative skills and abilities to its full potential and allows me to develop relevant skills and practices to better myself and my trade craft. The significance of performance arts in my life is extreme and there is always an opportunity to learn and grow on a daily basis and improve one’s creative process and trade craft.
Drama and performance arts has become an essential element of my growth and lifestyle. It is my everything now and the process and every experience of it is always refreshing and mind-opening. I am closely associated with performance arts and the several learning and creative experiences that I engage in always open up my mind and perspectives to different paradigms of the society and the various attributes of the art itself. I am more than delighted to take up drama and performance arts experiences again and again, grow and learn as much as possible, explore my creative and performance outlet and incorporate the skill better. It is the only way to move forward with this and I will be glad to get various opportunities in the future that will test my abilities and performance arts skills and practices. Performance arts prove me with the outlet to immeasurable possibilities and limitless opportunities that I enjoy taking up and challenging myself constantly to push to be better and more creative and expressive in my approach. Drama provides a unique platform to experience every aspect of being a human being all at once, testing our abilities to master each one of them. Performance arts is limitless and so am I (Baldwin, 2012).
Conclusion
Through the above essay, I have managed to successfully demonstrate my close association and experience with drama and performance arts, and how crucial embodiment, movement and physicality are to properly project the essence of the art and practice it. The above essay reflects on my personal experience and performance evaluations to better provide understandability of my creative process and how the various aspects of drama and performance arts are closely knit with physical aspects like expressions, vocals, emotion transfer, along with right body movements and embodiment to create a holistic experience and enumeration of performance arts. I have used one of the most popular and well known reflective model, proposed by Gibbs, to breakdown my entire experience and presentation into six broad categories viz; description, feelings, evaluation, analysis, conclusion and action plan. I have used this reflective method to methodically breakdown my entire experience into bite sized segments for better assimilation and understanding by the audience and the relevant readers of my experiences of drama.
References
Baldwin, P. (2012). With drama in mind: Real learning in imagined worlds. A&C Black. https://books.google.co.in/books?hl=en&lr=&id=nsrQAgAAQBAJ&oi=fnd&pg=PP1&dq=Baldwin,+P.+(2012).+With+drama+in+mind:+Real+learning+in+imagined+worlds.+A%26C+Black.+%E2%80%93+%E2%80%98%E2%80%99Drama+and+Intelligences%E2%80%99+p157-165&ots=VgqPhpvNe-&sig=itQs_FrrS_pyLekbXRrCPETvXs4&redir_esc=y#v=onepage&q&f=false
Dees, D. M. (2003). Chapter Sixteen: Foundations of Education and Acting Theory? You’ve Got to Be Kidding! Counterpoints, 218, 247-263. https://www.jstor.org/stable/42978164
Dunn, J., & Wright, S. (2014). Signs, meaning and embodiment: Learning and pedagogy in the early years. In The Routledge International Handbook of the Arts and Education (pp. 241-251). Routledge. https://books.google.co.in/books?hl=en&lr=&id=ZqZGCgAAQBAJ&oi=fnd&pg=PA223&dq=Dunn,+J.,+%26+Wright,+S.+(2015).+Signs,+meaning+and+embodiment.+The+Routledge+International+Handbook+of+the+Arts+and+Education,+223%E2%80%93233.&ots=RVvyPvxkZ0&sig=uTYBU2bE2xnSyUz6e2gSvwWlE_g&redir_esc=y#v=onepage&q&f=false
Hermans, C. (2015). Of Movements and Affects: Dance Improvisation as a Participator Sense-Making Activity. Embodiment in Arts Education. P1-28.
https://www.academia.edu/38149021/Of_Movements_and_Affects_Dance_Improvisation_as_a_Participatory_Sense_Making_Activity?auto=citations&from=cover_page
Order an Essay Now & Get These Features For Free:
Turnitin Report
Formatting
Title Page
Citation
Outline
