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When gestures and body movements are more pronounced for dramatic effect.
Exaggerated movement
[x] is used to create meaning that is not literal. [x] allows performers to communicate ideas and themes through action, gesture, vocal or facial expression, object/prop, costume, set pieces, and /or heightened movement.
Application of Symbol
When the action on stage is set out for the audience in spoken form
Narration
The most significant moment of tension or conflict in a drama, often occurring towards the end of the plot. Multiple [x] can also occur. The action of a drama usually unravels after the [x]] has transpired but the work might finish with a [x] moment.
Climax
[x] generally occurs when a character cannot achieve an objective due to an obstacle. This obstacle may be internal or external - between characters or between characters and their environment. [x] can be shown in a variety of ways, for example through physical, verbal or psychological means. [x] can be embedded in the structure of the drama.
Conflict
[x] is created by the performer through the possible use of voice, body percussion and objects to create an effect in performance and enhance meaning. [x] may included silence or the deliberate absence of [x].
Sound
[x] is a regular pattern of sounds, words or actions. Performances can also have their own [x] that can be influenced by the emotional nature of the plot, the pace of line delivery, the pace of scene transitions, and the length of those scenes and the dialogue within them.
Rhythm
Used to control or regulate the pace of a performance. [x] can be manipulated in drama to build dramatic tension, evoke feeling, coordinate effective synchronisation within an ensemble and develop the comic potential of a scene.
Timing
[x] presents the dissimilar or opposite in order to highlight or emphasise difference. [x] can be explored in many ways and can include contrasting characters, settings, times, themes, elements, stagecraft and performance styles.
Contrast
A performance style which encompasses all other performance styles.
Eclectic
The actor manipulates expressive skills to create characters in performance. A change in character, therefore, requires modification of the focus and manner of use of expressive skills by the actor. Additions of mask or costume may enhance the [x], but this does not constitute [x] unless accompanied by communicable changes in the use of expressive skills.
Transformation of character
When a character's features are exaggerated or simplified for the purpose of sending up or stereotyping
Caricature
[x] is the overall feeling or emotion that a performance can evoke. This may be achieved through manipulation of acting, conventions or stagecraft.
Mood
Musical interpretation of a text using the performer's own voice at the time of performance
Song
A short scene that usually focuses on one aspect of a character and her/his world
Vignette
The ability of an actor to elicit feelings of pity and compassion in the audience. It may be associated with comedy and/or tragedy.
Pathos
[x] involves the way the actor/s use/s the performance area to communicate meaning, to define settings, to represent status and to create actor-audience relationships. This may be achieved through the use of levels, proximity and depth. The use of [x] may be symbolic.
Space
[x] is the suspense that holds an audience's attention as a performance unfolds. The release of [x] can have a comic or dramatic effect.
Tension
The actor creates more than one place or setting during the performance and does so without the use of scenery. The actor can communicate [x] to an audience through the context that they create for the performance, and through the use of objects and space in symbolic ways. [x] can be achieved through the transformation of properties (real and imagined) and/or through the use of expressive skills alone.
Transformation of place
The way in which an actor deliberately manipulates the audience's emotions, moods and responses to the action. This can be done through the placement of the performer in relation to the audience, the way the actor addresses and engages the audience, and the emotional and intellectual response to the character's situation. [x] only exists as part of an actual performance. Performing without an audience is a rehearsal and therefore part of the development process.
Actor-audience relationship
The intensity an actor brings to a performance. At different times in a performance an actor might use different levels of [x] to create different dynamics.
Energy
This can be used to vary the actor's delivery of lines or scenes. It can sometimes be used to emphasise a point in the dramatic narrative or momentarily sustain a mood. This can also refer to the use of quieter or more subdued moments on stage.
Stillness and Silence
The poetic and intentionally exaggerated use or repetition of words, speech, poetry, rhyme and verse.
Heightened Use of Language
The ability of the actor to commit to their performance and the ability to sustain character through the use of concentration. [x] can also be used to create an implied character or setting through manipulating the audience's attention towards a specific place. The manipulation of [x] can assist the actor to develop an effective actor-audience relationship.
Focus
Performances can move around in time as well as in place. Sometimes performances can occur in a linear or chronological timeline. Others move backwards and forwards in time from a central point.
Transformation of time