فصل الدراما ، الممثل ٥-a .. كتاب فهم السينما

This type of composition can go further than this, where we combine the face of an actor with the voice of another actor.

Similarly, the physical requirements of a film actor differ from those of a stage actor. A film actor is not required to be tall, even if he is in a starring role. Alan Ladd was a very short example. His directors simply avoided showing his full body except when he appeared alone in the picture. He acted out the amorous roles while standing on a box while the image cuts the bodies of the two lovers at the waist. Stills The low angle made him look taller. There is no need for Besir’s features to be large in the role of a movie actor, but rather expressive, especially the eyes and mouth. An actor who: poorly does not necessarily lose an edge in cinema. The director can get around the problem by not using many distant shots and filming the actor after he has moved. Also, complex movements can be imitated by underwriters or specialists in difficult actions. Complex duels with swords, for example, are usually performed by specially trained specialists dressed like the main actors. These are closer shots of the first actor, and this produced juxtaposition leads the audience to assume that it is the main actor who is included in all the shots. In the big shot, the physical appearance of the actor can be changed by using shots that intersect with even special lenses, filters, and lighting.

Since the shot is the basic building unit of the film, the movie actor does not have to base his performance for a long time. Even in realistic films, where the camera cycle lasts for two or three minutes, in an impressionistic film, where shots can last for less than a second, one can hardly To refer to the actor's contribution as being originally represented. It just exists. In addition, the filming schedule is decided by economic considerations. So shooting different scenes doesn't always make sense technically as the actor may be asked to act out the rising scene first and then follow that with revealing shots with weak tension. So the film actor does not do the emotional construction as the stage actor does. A film actor must be able to focus absolutely intensely and hold his emotions for very short periods of time. He has to be neutral most of the time as if he was never acting (7-21). He is certainly almost all the time at the mercy of his director, who builds in them after the scattered shots in a cohesive performance. Some directors cheated his actors within his performance. Both Hitchcock and Antonioni sometimes lied to the actor, as he required a certain quality in order to obtain another.
Since cinematic representation is limited to short parts of time and space, the film actor does not need a long period of rehearsal in order to achieve a sense of comfort with the other actors, the scene and his clothes. It is expected of him to pretend that he has lived in it all his life as he is not, unlike the theatrical actor to be closely cohesive with others and sometimes he has not seen any of the actors with him. Some directors don't care about rehearsals for some scenes, especially if the actors are with The clips are short from time to time, and the actor does not know his lines, then he deals with the matter by finding a prompter inside the scene or by writing the lines on a board, far away from the camera, where the actor can read them. The view as they work or watch. He has to be totally relaxed even if the lamps can't stand the heat and his makeup has to be perfect between takes. Since the camera distorts the features, the actors are required to represent some scenes in an unnatural way. When the two lovers embrace each other, for example, they cannot really face each other, otherwise their eyes would appear upside down on the screen. . In self-takes, the actor speaking should look at the camera and not at the other actor. Most of the time, the actor does not know what he is doing or where the shot will be in the final film, or that it will appear at all, as much of an actor’s performance is left on the cutting room floor. In short, due to the lack of theatrical continuity in the cinema, the film actor is in the hands of the director almost completely.