A First Step In Composition: The Unity Of Interpretation
A First Step In Composition: The Unity Of Interpretation

Summary/Abstract: When the purpose we aim at within the pedagogics of the Actor’s Art is to form and strengthen some of the student’s skills regarding the scenic composition of the character, we are in need of a few new coordinates referring to what we shall call the unity of interpretation in the Actor’s Art. Firstly, we will make a parallel between the actor’s art and painting, even if this idea might seem somewhat strange. Every character has a general line, a direction it follows. The play represents, after all, only a fragment of the character’s lives. They have a past (before the start of the play), a present (visible on the stage during the play) and maybe even a future (after the curtain drops, as a possible conclusive continuation of the fragment of life which the spectators witnessed). We will now make an analysis of the thought process. We have established that there is a unit of interpretation at the level of a whole role. This means that we can also talk about a unity at the level of any fragment of text – for example, in the case of a monologue. Maybe there is something else we must add here: the fact that words are not that which initially stands at the root of thoughts. They are, usually, born from images. We can then conclude that, in order to interpret a text, the ideas it contains must firstly have an emotional impact on us. Hence, by way of analogy, the actor can have an enormous amount of references on which the naturalness of the interpretation is founded on, from all points of view.

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