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Alba Emoting

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Mya Nunley

on 17 September 2013

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Transcript of Alba Emoting

Alba Emoting
What the heck is Alba Emoting?
Alba Emoting is a set of vocabulary of emotional expressions using breath, facial attitude, and physical position to elicit six primary emotions
What is the history and tradition you ask?
It is known to be the universal language of emotional expression. Dr. Bloch discovered that repeating the posture, breath, and facial expression of these patterns could induce an emotional response akin to real emotion
Alba Emoting got Style!
Alba Emoting ain't nothing but Philosophy Baby
Alba Emoting was developed by neuroscientist Dr. Susan Bloch as a technique for actors.

Philosophy: Alba Emoting was an alternative to emotion memory and other psychological techniques for releasing, maintaining, and controlling emotional stages on stage. This technique consisting of six basic emotions from which all others derive and a step-out pattern that allows actors to leave any emotion just as easily and return to psychophysical neutrality

Six basic emotions consist of:

. Joy as laughter
. Sadness as crying
. Fear as anxiety
. Anger as aggression
. Erotic Love
. Tenderness

All basic emotions, as we as emotional neutrality, have identifiable set of bodily responses, which are universal to all humans. Three patterns are breathing, posture, and facial expressions.
There's more...
Stage
A traditional Kathakali performance begins at 8pm at night and ends at 6 in the morning. Stages are typically 15 feet in length and 15 feet in width and 1 ½ feet in height. The stage is a holy place where the dance is performed merging body, senses, mind, wisdom, and soul through meditation and worship called kathakali. The most important element on the stage is an oil lamp called a kalivilakku with two flames that burns coconut oil and is placed in the center of the stage. The flames represent the individual soul and the universal soul. Behind the oil lamp is a mobile curtain made up of 5 colors called the maya(illusion). The singers and the maddalam and chenda player will all stand behind the curtain. Performances are based upon legends and epics and start with a number of rituals including the blowing of a conch shell.
Set
Kathakali is visionary in nature, and there is no set recreating the ambience. However, there are a few props used on stage.
-Thirasseela (curtain): A curtain/cloth held up by 2 assistants. It is four feet by five feet, a single color, and has a favorite deity painted on it. However, the most popular design now consists of many rectangles of different colors. The size has also increased.
-Kalivilakku( lamp): It used to be the only light source before lighting facilities advanced. It is placed on the center of the stage. It is made of bronze and burns coconut oil. The wicks are made of strips of cloth, rolled firmly. It now has a symbolic value.
-Stool: The main purpose of the stool is for actors to sit on depending upon the play. Some characters may stand upon it to gain height though.

Music
The music is the skeleton/structure of a Kathakali performance. It resembles Southern Indian classical music(carnatic sangeet) with a distinct sopanam style. However, different instruments are used such as the chenda, idakka, manjira, and shuddha maddalam. The language of the songs is manipravalam. The music style takes its roots from the temple songs which used to be sung when Kathakali emerged. The lead singer is called the ponnani, and his follower is called singidi, and they use the chengila(a bell metal gong that can be struck with a wooden stick) and a ilathalam(pair of cymbals). Percussion instruments include the chenda and the maddalam. There is no oral communication. Most of the script is in the form of lyrics which are sung by vocalists.
Lighting
In the past, the oil lamp was the only basis of lighting. However, the oil lamp just has a symbolic meaning now. Typically, there will be two lights hanging above up-center stage, two on stage spotlights, and the oil lamp which is made of bronze and burns coconut oil.
Presentational
Kathakali can be presentational. The characters use a series of hand gestures and facial expressions and body movements to communicate with the audience. Kathakali follows the language of Mudras which is described in the book of hand gestures titled “Hasthalakshane Deepika”.
Representational
The actors also communicate with each other. One will sing words to another actor who will be acting the words out as they are spoken.
Costumes, Makeup and mask and theatre conventions

There is different kinds of costumes, language, and make up in Alba Emoting. Sometimes its best nt to over shine makeup through luxuries costumes, set and lighting that over shadow the actor audience encounter.
Training
Physical
Effector patterns
muscle tension
breathing
Exercises
flexibility
control

Mental


Posture
Facial expressions
Emotional differentiation
six basic emotions
neutrality

Emotional
Breathing routines and learning how to control their anxiety
Spiritual
They connect with ones self and try to practice on their inner thoughts as the character and role they take on
Movement and Language of one body
Symbolism and real emotion
Work Cited
Rix, Roxanne, and Laura Bond. "Learning Alba Emoting." Learning Alba Emoting. Alba Emoting North America, n.d. Web. 13 Sept. 2013.
http://chandrakantha.com/articles/indian_music/nritya/kathakali.html

http://www.cyberkerala.com/kathakali/rituals.htm

http://en.wikipedia.org/wiki/Kathakali

http://www.kathakali.biz/Kathakali/Stage.html

http://www.lucid-dreams.com/lucid/Kathakali.htm

http://mudraculturalcentre.com/kathakali/
Full transcript