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the actor
It is space and time that also decide the differences between theatrical representation and cinematic representation. In general, it seems that the theater is a more satisfactory medium for the actor, since as soon as the curtain rises, he begins to control the ceremonies. In cinema this is not necessarily the case. The necessities required of a stage actor are to be seen and heard clearly. So the typical stage actor must possess a trained flexible voice. The most obvious condition is that his voice be strong in order to be heard even in a theater containing thousands of seats. Since language is the main source of meaning in the theater, the voice of the playwright is of great importance. It must be of great variety. The actor or actress must know which words are emphasized and how they are distributed. Words according to the different kinds of lines and when to pause and for how long, the speeding up or slowing down with which the line or word is to be performed. Above all, the playwright has to be completely convincing even when he delivers unnatural and very stylized dialogue. Most of the evaluation in an exciting theatrical production is given to the actors, but most of the concerns fall on them as well. When we get tired of a theatrical production, we place the responsibility on the actors.
The physical requirements differ in cinema and theater (7-11), most notably that the theatrical actor must be seen even at the end of the sitting room. So it helps if the actor is tall, as short actors tend to disappear on a big stage. It is also helpful for the actor to have huge, regular features, although makeup can cover a large number of defects. This is why giving the role of Juliet to a forty-year-old actress is not necessarily a disaster on stage because her age will only be apparent for the first few lines. And because of the distance between the actors and the audience in most theatres, actors can play roles that are twenty or even thirty years beyond their real age, provided that their bodies and voices are sufficiently flexible.

The entire body of a stage actor is always exposed to the audience and for this reason he must be able to control it precisely. Some well-known activities such as sitting, walking, and standing are performed differently on stage than they are in real life. An actor must usually learn how to dance a little, how to spar, how to move in style clothes normally, he has to know what to make with his hands, to let them dangle, and even to use them for an expressive gesture. In addition, the actor must know how to adapt his body to different roles. A young man of twenty moves differently from a man of thirty, and an aristocrat moves a clerks his age. A great variety of emotions must be expressed by a silent performance. differently than

Theatricality continues for long periods of time. The actor must build scene by scene toward the summit scene near the end of the play. Theatrical actor usually starts with a relatively low level of energy and then increases this energy with each subsequent scene until the energy in the climax scene reaches its explosive point, at which point he descends to a staged resolution of the play. In short, the actor generates spiritual energy to build the play itself. Within the overarching construction the playwright builds within each scene, though Vary in scenes Not automatically represented Increasingly in depth Because every play is built on other plays What is essential for the stage actor is to maintain a level of energy throughout the duration of the scene Once the curtain rises until he finds himself alone on the stage Errors are not easily corrected The scene cannot be re-enacted or delete it.

The minimum is what he calls, in general, that the film actor can improve in working with the techniques of the stage, the essential requirement for the actor in cinema, Antonioni "expressionism". That is, it has to look sexy. Technology never replaces a face that doesn't fit a screen. Add to this the fact that some of the most famous stage actors in history - including Sarah Bernhardt - have made poor appearances in cinema. Her style was behavioral and theatrical to the point of exaggeration in the cinema, if a lot of exaggerated techniques might actually destroy the performance and could make it look unnatural and unconvincing.

Almost at the end of the previous century, George Bernard Shaw (then a theater critic) wrote a famous essay comparing two of the most famous theater stars of his day, Eleanora Dawes and Sarah Bearnhart. Bernard Shaw's comparison is a useful starting point for a discussion of different types of film representation. Bernard Shaw wrote that Bernhardt was a great character and was able to tailor each new role to fit the character her fans had been waiting for and wanting. Her great personal charm was as broad as life itself and was irresistibly captivating. Her performance was peppered with wonderful affectations that have begun to relate to her character over the years. Dawes, on the other hand, had a quieter, less startling talent on her first collision. She looked different in each new role and her own personality would not have interfered with the character written by the author. Her art was “invisible,” but her characters were so immersive, compelling, and poignant that the viewer might have forgotten that these were role-playing. The result is that Bernardshaw who she is She was referring to the main differences between "a superstar and a great actress." In fact, there are three broad categories of actors in cinema, despite the possibility of a large amount of overlap. These categories are first, the star (7- 12), secondly, the actor (7-13), and thirdly, the non-professional. The stars are made - and controlled in many ways - by The movie star audience can be a technically good actor first, but the essential requirement is that the star tailor each role to suit his personality, which remains relatively constant from the other role.