1

Chapter I

Introduction

Problem and Its Background

Stage play is one of the media in giving a message to the people that serves as the

mirror of the society where the actors portray a realistic depiction of everyday life. The

characterization comes in which an actor’s ability in bringing to life a certain character is

being tested. In achieving the goal of showing realistic acting, the actors should follow

certain requirements in which the acting performance of an actor is evident through a

well-executed body movements and voice projection.

In a realistic acting, the actors can be effective if they achieve a well-executed

body movement. This is one of the essential tools of an actor to portray the role in a

realistic manner. Through body movements, the actors can express the moods and setting

of the play.

Aside from body movements, another essential tool that should be considered in

an effective realistic acting is a good voice quality. This tool is important to consider by

the actors for the reason that clarity in the delivery of lines is evident. Voice elements

such as appropriate pitch, tone, intensity, stress and intonation should be present in an

acting performance in achieving a well-modulated voice.

Body movements and voice projection greatly affect the performance of an actor.

These serve as the basic requirements of an actor in achieving a realistic performance.

For this reason, the researchers arrived with the set of guidelines to follow in a realistic
 2

acting under the categories of body and voice. These guidelines contained the basic

criteria of realistic acting that provides proper execution of body movements as well as a

good voice quality.

The study focused on identifying the basic criteria under the categories of

body and voice as the basic requirements of realistic acting. This study provided a

checklist of basic criteria for a realistic performance.

 3

The Conceptual Framework

The researchers conducted an intensive research regarding the concepts of realism

including that of Ibsen’s (1900) and Chekhov’s (1902) and Stanislavski (1905)

Ibsen believes that it is not mainly with detailed and specific properties on stage

to make the audience feel the “situation” the play suggests but with making the audience

create their own properties in mind as they put and relate themselves in that situation.

Acting makes use of two kinds of physical skills: movement and voice. Either may

dominate. The physical skills needed by actors are a well-developed body and voice,

ability to imitate other people's gestures and mannerisms, and mastery of the physical or

vocal abilities required by the type of theater for which the actor is preparing.

For Chekhov, it is with showing the people the “real” social situation by having

his characters most likely to be indifferent and feel trapped into different dreary

circumstances or refined social depression that they fear to rectify in a very symbolic

way. It is by actor learning to control voice and body to express emotions. Actors are

armed with a variety of exercises to improve their vocal quality (projection, tone,

inflections, pitch, and rate) and their articulation (pronouncing words clearly and

accurately).

Stanislavski said that an actor's voice and body should receive thorough

training so that voice and body are as responsive and flexible as possible. After all, these

are the actor's major communication tools. Further, an actor's training is lifelong. The

body’s self willingness, getting control over your own self, known in acting theory as a

mastery of emotions, body, voice, etc.

 4

Through these concepts, the researchers came up with certain requirements of a

realistic play to achieve its goal, which is to reflect the everyday setting of the society and

tackle a specific social problem. The goal is to leave a big impact to the audience as the

play gave its message to the said problem. In this regard, the researchers constructed a

questionnaire that contained the factors to consider in realistic acting. The researchers

distributed the questionnaires to a set of drama experts (refer to Chapter 3) to elicit their

views and opinions regarding the physical indicators of realistic acting under the

categories of body and voice. After gathering data, the researchers interpreted the

practitioners’ answers through tabulation whereas their answers were listed down under

the categories of body and voice.

After the interpretation of data, the researchers came up with the checklist

containing the basic criteria of realistic acting regarding body movements and voice

projection.
 5

PROCESS OUTPUT
Distribution of
Questionnaire Validated Checklist of
INPUT the Basic Criteria of
Views and Ideas of Realistic Acting
Practitioners
Concepts of Realism
Interpretation of Data
Survey-Questionnaire Construction of
checklist
Face Validation

The Conceptual Framework

 5

Statement of the problem:

The study aimed to come up with the basic criteria of realistic acting.

Specifically, it sought to:

1. identify the basic criteria of realistic acting under the categories of :
a. body
b. voice
2. provide a checklist of basic criteria of realistic acting.
Significance of the Study

The study was conducted to identify the basic criteria of realistic acting under the

categories of body and voice. This was intended to be used by amateur actors, directors,

playwrights and other theater professionals in which the checklist that was made would

serve as the guidelines in achieving an effective realistic acting.

The study pointed out criteria that were proven significant to create a realistic

effect in acting. The set of indicators listed were considered requirements to fulfill in a

realistic acting. In this manner, the target audience would make themselves appreciate the

beauty and essence of the play, as hey relate themselves to the characters. Moreover, such

techniques were mentioned on the proper manner of executing body and projecting voice.

In this point, the actors would be able to communicate well the theme of the play to the

audience. This fulfills the goal of the play itself to make the audience thinks and feels the

situation based on how they see and experience in everyday life. With this sense, a

meaningful performance and realistic effect were achieved.

These basic criteria were considered by amateurs to end- up with a realistic

performance, the reason why these factors were given emphasis in this study. With this

sense, a meaningful performance and realistic effect were achieved.

 6

Scope and Limitations

The study focused on the basic criteria of realistic acting under the categories of

body and voice. This covered the set of factors to consider on body movements and voice

projection. These factors were said to be significant which serve as the requirements in

realistic play.

This study discussed the concepts and ideas of realism as an approach to drama.

The lists of guidelines were based on the views and ideas of the chosen drama

practitioners and the said guidelines were not applicable to all techniques of stage acting.

Furthermore, the study discussed the suggested acting techniques using body and

voice given by the drama practitioners.

The study is anchored only on realistic acting to be used by amateur actors,

directors, and other theater professionals.

 7

Definition of Terms

The following terms are operationally and conceptually defined as:

Authentic- worthy of acceptance or belief as conforming to or based on fact, b

conforming to an original so as to reproduce essential features c : made or done the

same way as an original ( Barnet, 1993).

Body Movements – The researchers used this word as the way the actors execute

gestures and facial expressions depending on the character portrayed.

Criteria - In this study, the researchers defined the word as the set of guidelines in proper

execution of body movements and voice projection.

Drama- is a literary form involving parts written for actors to perform. It is a Greek word

meaning "action", "to do" (Gillete, 1992).

Method Acting –The researchers used this word as the guidelines for the amateur actors

to act on stage evidently.

Physical Indicators – In this study, the researchers defined the word as the set of

guidelines in proper execution of body movements and voice projection.

Presence of mind – The researchers used the word associate with the awareness of the

actor when moving on stage and using props.

Props - A theatrical property ( Gillete, 1992).

 8

Questionnaire- a set of questions for obtaining statistically used for personal information

from individual ( Fraenkel, 1993).

Realism- This word is used as the “photocopy” of what is really happening in a real-life

setting.

Realistic Acting- in this study, it is defined as the way an actor portrays different

characters and creates a life-like performance.

Stage- A raised platform on which theatrical performances are presented, an area in

which actors perform (Beck. 1995).

Theater Practitioners- The researchers used the word as the group of individuals who

have the knowledge and skills in the field of theater.

Verisimilitude - The quality of appearing to be true or real. Something that has the

appearance of being true or real (Toby, 1970).

Voice Projection- This word is used as the manner of delivery of the actors and how the

actors will give intensity to their

 5

Chapter II
Review of Related Literature

The chapter contains literatures and studies relevant to the research.

I. Conceptual Literature

In the following books, factors affecting an actor’s performance are

mentioned.

Brian Bates (1987) in his book The Way of the Actor mentioned that almost

everything that actors do could be identified with things done less dramatic form

in every day life. But in order to express the concentrated truths which are the life

stuff of drama and to project convincing performances before large audience,

piercing eye of the film, and television camera the actor must develop depths of

self knowledge empowers of expression far beyond those with which most of us

are familiar.

Barba (1987) discussed the undisciplined actor that first of all one gets the

impression that his acts are not dictated by the interior convictions or undeniable

need which would show his self in the execution of an exercise, or of an

improvisation or a scene. He has not proven to himself the importance of what he

wants to share with the spectators. How then, can he hope that the spectator will

be captivated in his actions?

The second tendency that he sees in the actor is the fear of considering the

complete seriousness of his work. He finds the need to laugh, to snigger and to

pass humorous remarks upon whatever he and his classmates happen to perform.
 6

It is as if he wanted to flee the responsibility which his sense is joined to their

work and which consist of establishing communication with other people and off

facing up to the consequences he discovers thereby. He believes he has never

considered that all his doings, delivering and shaping in his work belongs to the

phenomena of life and that as such it deserves consideration and respect.

Ruthchell (1981), certain qualities and traits which the drama and theater

arts have mentioned. He vividly discussed and described the three dimensions of

the theatrical experience and the psychological relationship between its

performers and spectators.

According to him, there is a basic difference in psychological response

aroused by watching picture act in watching the same deeds performed by the

actor on the stage in what amounts to the same room with the audience.

Stanislasvsky (1998) Six Famous Steps of Good Acting Job, Wanting,

Seeking, Experiencing, Impersonating, Blending, and Influencing mentioned that

the material can best be used by the actor especially the beginners.

Kempe (1993) mentioned that making a play is an active thing, doing it is

more important than talking about it.

In developing in this area, he needs to:

1. Experiment with ideas- Don’t be frightened to try out the first thought

that comes into your head, it may exactly be the right one.

2. Trust your own feeling- There is no ultimately “right” answer or way of

doing things. Don’t allow you’re self to be cramped by style and ideas

comfortably worth.
 7

3. Work around on idea- Explore what other things may suggest, one of

these maybe more interesting than your starting point. Look at what

happened before or after an incident, or to someone on the sidelines of it

rather than just incident itself.

4. Do more than you need- Create too many ideas rather then too few. In

this way, you have at least the opportunities to select the best things.

Wilson (1985) pointed out that acting is not as mysterious or removed from

daily life as it is sometimes be. All human beings engaged in certain forms of

acting. Imitation and role playing are excellent examples of everyday life. Acting

on stage differs from acting in every day life. In the first place, because the stage

actor or action is always being observed by an audience, acting for stage involves

playing roles for which are symbolic which makes special demands on their skill

and imagination.

Acting is difficult, demanding profession, its glamour; it calls for arduous training

and preparation.

Zaporah (1995) tackles more on theater awareness and performance

training. It is a model not just for performance but for life.

It offers a way to precede who we are, how we perceive the world, and

how we respond to those perceptions are the same regardless of the surroundings.

The training is comprised of exercise and ideas that expand awareness, stimulate

imagination, strengthen the capacity for feeling and develop skills of expression.

The root defining exercises are constraints that isolate components of human

behavior. These rule open path ways that lead into explored territories where the
 8

mind and body rejoined, where there is no disparity between the actions and

being.

Benedetti (1997) explained that as an actor, he is a pleader of causes. The

character he plays has a cause, a purpose. It is up to him to plead it with utmost

integrity and commitment as if a life ended on it well in fact, it does. To be able to

do this he must master the techniques of acting. He stretches his body, voice,

thoughts and feelings so as to encompass as much of human condition as possible.

He must develop the capacity to reflect it all not only with the small portion with

which he feels comfortable. As his work to master technique, he must keep his

attention focused outward.

Richards and Birdwhistle (1964) respectively, gave the idea that as an

actor he must also center himself so that his energy flows outward into the new

form of himself demanded by his role. The idea of a personal center is not just a

metaphor but has a tangible physical dimension. Finding and activating bodily

center is a necessary step in laying a foundation for a good stage movement and

voice.

The sense of center can elicit responses and give strength by involving

one’s total organism in once actions. Birdswhistle’s interest in body language in

this area of study will help the roughly standardized meanings in actors’ body

gestures: first, body gestures are socially learn; second, no gestures carry meaning

by itself, all gestures must be interpreted in context and third, it is physiological

similarity of our bodies and the generally similar influences of our environment

that cause some gestures to develop within our culture.

 9

Schalauch (1955) and Sapir (1949) both emphasized that gestures are

means of communication for more universal than language as we understand it.

They begin exploring the wide range of vocal behavior that surrounds and

supports the speaking of words of the actors. They said that the actors’ voice is

very involved with the bodily functions because so many deep and important

muscles and organs produce it. In fact, the networks of muscles that produce the

voice are so complex and far-reaching that they ultimately involve the entire body.

They said that “the sound of pain and joy does not, indicate the emotional, and it

does not stand aloof, as it were and announced that such and such and emotion is

being felt. What is does is to serve as more or less automatic overflow of

emotional energy: in sense, it is a part of the emotion itself”.

Cassirer (1953) theorized about how the capacity for speaking can be

developed. He observed that at first, the sounds we make are part of our feeling,

like hunger, pain, or joy.

These are particularly useful view of speech for the actors. In creating a

play, the writer directed a total human situation full f feelings and actions into the

relatively few words of the dialogue. He said that the dramatic speech is a form of

doing. When one delivers his speech on stage, the actor’s voice must also be

doing. The words should be hitting or caressing whatever the actions underlie the

speech maybe.

Stanislavky (1949) mentioned that dual consciousness is a feature of all

acting, though; different styles of drama may require more or less emphasis on

one level or the other. In some modern play, he may allow more of the actor’s
 10

awareness to function in the performance. While in a highly naturalistic play, he

strives to reduce his actors’ awareness to the minimum. Dual consciousness may

seem difficult to attain but is really a natural ability. The characters on stage

develop a consistent trait of personality. All these can be summed up by saying

that “characters grow out of action”. This is the fundamental principle in which all

our work is based, and its importance can not be stressed enough.

Kahan and Rugg (1998) said that one of the most misleading comments

heard about the actors and acting is that certain physical and vocal attribute

automatically ensures success. This belief is quite widespread and its results are

seen not only in the theater but also in television and film. It is certainly true that

physical attractiveness is an essential ingredient in the portrayal of certain types of

roles.

The belief of physical attractiveness alone provides a sure role to success,

to the exclusion of other attributes, is damaging to the realization that there is no

substitute for training and an understanding of the essentials of good acting.

Guthrie (1971) Dolman Jr, (1949) both pointed out that if there is any

physical standard that should be used to evaluate either the ability or the

potentiality of the actor, it is the level of control that the actor maintain over his

body. Actors must learn to use the physical apparatus expressively and with

economy of motions. They also noted that “audience look at the actors who have

some kind of magnetism”. This is largely a matter of self-confidence on the

actor’s part -- the belief that as an actor is, in fact, worth looking at. They had

clearly defined the requirements of good stage voice. They also said that the need

for a supremely beautiful voice might hypnotize the audience into admiring the
 11

tone. Aside from listening to the play, what the actor needs to develop is voice

that is highly adoptable to a variety of uses, and so managed to withstand fatigue,

and even abuse. The first and most function of the voice in the theater are to be

heard and be understood.

Bernhardt (1924) summarized the point of view of the actor who believes

it is necessary to feel the role during the performance. All actors face the

elemental problem of deciding whether or not to feel emotion in playing, and to

what degree he should feel it.

Wilson (1956) and Massey (1959) both declared that gesture, movement

and performance of stage business are likely to be important, unstudied and

haphazard. The emotional actor relies on impulse and the springs of inspiration, to

make a character’s reactions and feelings meaningful. They indicate that if the

actor allows his emotions dominate the performance, he will lose all unity, all

power reproducing the character. Acting for them is always of “outside looking

in”. Without the detachment, it is impossible for an actor to maintain the control

necessary to keep the performance at proper pitch.

Herman (1986) said that the good actor is an intelligent human being. He

knows the techniques and conventions of the theater, is usually well-read, knows

the great books and plays, and has studied his historical manners and customs and

generally a well informed individual. He also explained that best actors are

inclusive experience, not the ones who are overly specialized in the theater.

The above literatures that contain concepts and theories on acting helped

further equip the researchers with adequate background on the competencies for

realistic acting.
 12

II. Research Literature:

Vergara (1998) in her research supplied information as to how beginning

actors can surmount the endless challenges of drama and theater arts. She also

describes the different aspect involved in the realization of good and successful

theatrical performance. She emphasizes the truth that acting can be learned

through certain techniques coupled with the actors’ sense of dedication, common

sense, versatility, wit, resourcefulness, ingenuity and cooperation with all other

actors and production staff she is working with.

According to Caday (1982) the most effective tool of instruction and

brainwashing is through drama. It is an instrument in transmitting behavior

patterns among community members. Theater, therefore, it is informative,

entertaining, and persuasive.

Perez (2003) in her special project includes a module containing activities

for basic acting, gestures, directing, stage management and production

management taking acting as the focus concerned in this study was to attempt to

develop a source material in conducting workshops/seminars in basic elements of

play production.

Acting activities were developed to release inhibitions, motivate creative

movements, and recognize one’s individuality and uniqueness.

In developing the voice, it is important to enable the participant to use

their voice with clarity, strength, versatility and expression.

 13

Regarding basic stage movements, it is essential to use basic movements

on improvised thrust of open stage. Gestures can be expressed with the use of the

appropriate movements based on created character and situation.

Tungpalan (2000) characterization is described as the most important

element of drama. Characterization is revealed by what the character say, how

they move or create gestures and by what other characters say of them. Every

word, gestures and facial expressions made by an actor can draw a reaction from

the audience, for which is a means of communication between actor and actor,

between the actors and the audience as the cast view their movements on the

stage.

Upon these things done by the actors, hinges understanding, the feeling

aroused for each character, the appreciation of the playwright’s skill and arts in

conveying his message. No matter what how beautifully expressed that lines are,

if the actors mouth them instead of communicating them to the listeners, the play

becomes the actor trains himself to speak clearly and loud enough to be heard by

everyone, above all, to suit this voice and gesture to take the role he/she is

portraying in a situation in which is in.

Everyone, therefore, must listen to the speaker of this part calls for

listening so that his immediate reaction is spontaneous. Indeed, spontaneity is

important in arousing and holding the interest of the audience.

There is nothing more boring even embarrassing to both actor and listener

than to see an actor make a play drag, because of the delayed reaction, especially

if the play is intended to the fact paced. The only remedy is constant practice.
 14

Cadiz (2001) in her study discussed the three main elements for training

effective actors; these are acting practices that apply to realistic acting. The

director or acting coach and the drama play script as main ingredients as the

source of interaction in developing effective actor.

The above research literatures helped the researchers to determine the

extent of research done on acting.

 15

Chapter III

Methodology

This chapter contains the research design, instruments used in gathering the data,

the respondents and how they were selected, and the procedure done in pursuing the

study.

Research Design

This study used a descriptive type of research design to identify the basic criteria

of realistic acting under the categories of body and voice. The researchers described what

a realistic acting should possess regarding body movements and voice projection.

To come up with these factors, the researchers constructed a questionnaire (refer

to Appendix B) to gather data from a set of drama practitioners. Through this, the

researchers provided the checklist that contained the said factors to consider in staging a

realistic play whereas the proper use of body and voice is a big factor. As the views and

ideas of the drama practitioners were analyzed, the researchers listed down the physical

indicators which were significant in a realistic performance. Moreover, suggestions and

comments were also considered effective in a realistic acting.

 16

Instrument of the Study

Survey- Questionnaire

In pursuing the study, the researchers constructed a survey questionnaire to obtain

insights and views from Drama Practitioners. The responses to this questionnaire were

considered in identifying the basic criteria of realistic acting. This questionnaire was

composed of questions that focused on body movements and voice projection. This

questionnaire was composed of two parts.

PART A included the demographic profile of respondents such as the name, age,

professional affiliation, and years of theater experience.

PART B included questions on body movements and voice projection related to realistic

acting. The researchers also considered opinions and suggestions given by the drama

practitioners.

Respondents of the Study

The researchers asked the views and ideas of the Drama practitioners to come up

with the checklist of the basic criteria of realistic acting.

These drama practitioners should have good background in theater, worked in a

play production and mastered the theories, skills and techniques in acting. The experts’

age ranged from 17- 55 years of age and has at least three years of theater experience
 17

Sampling Procedure

This study used a purposive sampling for the reason that the researchers consider

certain factors. A purposive sampling is a non- random sampling because the selected

respondents have the needed information (Fraenkel and Wallen, l993).

Research Method

The researchers reviewed literature in realism these concepts were taken from

different proponents such as Henrik Ibsen, Anton Chekhov and Constantin Stanislavsky.

Based on the reviewed literature, the researchers constructed a questionnaire

composed of questions to determine the set of factors under the categories of body and

voice. The survey-questionnaires were distributed to a set of drama practitioners. The

researchers set qualifications in selecting the respondents.

The responses of drama practitioners were gathered to be interpreted. The

researchers listed down all responses according to their theater affiliation. The

researchers analyzed the responses following the concepts of realism to come up with the

basic criteria of realistic acting. The checklist of the basic criteria of realistic acting

focused on the proper execution of body movements and voice projection.

 18

PHASE 1
Gathering of data
(Concepts of realism)

Construction of survey-
questionnaire

Distribution of questionnaires to
drama practitioners

PHASE 2

Abstraction of Data
(List of physical indicators under the
categories of body and voice)

Face validation

PHASE 3

Validated Checklist of Basic Criteria of

Realistic Acting

WORKFLOWCHART
 19

Chapter IV

Presentation, Analysis and Interpretation

This chapter presents the profile of the respondents and the analysis of the data

gathered from the practitioners in the field of Drama. The discussion is divided into two

parts, they are as follows: a). Profile of the Respondents and b). Basic Criteria of

Realistic Acting.

A. Profile of the Respondents

Table 1

Profile of the Respondents

Gender Age
Affiliation Years of Experience
M F

Tanghalang Pilipino 2 4 17-22 1-7

Dulaang UP 3 3 35- 50 1-20
PETA 2 25-40 1- 20
STAGE 1 3 19-21 1- 4

TOTAL 8 10

B. Basic Criteria of Realistic Acting

 20

The respondents from different Theater groups stated that the

following indicators should be present in a realistic acting under the categories of

Body and Voice.

1. Tanghalang Pilipino

A. Body

A.1. Natural way of moving on stage, which fits the character

conveying real;-life setting

A.2. The characters show bigger movements to emphasize the situation

or conflict in the play.

A.3. The actors must possess presence of mind in a way he interacts

with other actors and the usage of props.

A.4. The good portrayal of the character is evident through gestures

and facial expressions making the audience believe and connect to the

theme of the play.

A.5. The actors show transitions of facial expressions as the mood of

the character changes.

B. Voice

B.1 The actors show emotional intensity through dialogue as he

projects his voice that fits the character and mood.

B. 2 In achieving a well- modulated voice, the factors to be considered

are: clarity of words, proper enunciation with the correct stress that

suits to the mood of the character as well as how he moves on stage

B.4 Vocal variety shows the emotions of the character and the way he

builds up his character.

 21

2. Dulaang UP (DUP)

A. Body

A.1 The actors build up using appropriate gestures and facial

expressions depending on what the script dictate does.

A.2 The actors should be aware as they move on stage depending on

their characters and the setting of the play.

A.3 Gestures and facial expression help the actors to communicate the

message of the play to the audience.

B Voice

B.1 The actors use vocal variety whereas they consider certain factors

such as pitch, tone, intensity, stress and intonation.

B.2 The manner of delivery of lines should be dependent on his

character.

B.3 In realistic acting the actors should achieve a well-modulated

voice in a sense that it should be loud and clear, proper stressing and

intonation should be observed.

B.4 The vocal variety affects the performance of an actor in way that it

connects the audience to the play the building up of the character is

evident and the good portrayal of the character is achieved.

 22

3. Philippine Educational Theater Association (PETA)

A. Body

A. 1 The actor should be confident and have no inhibitions or express

himself by moving on stage freely,

A. 2 The actors build up their characters with the emphasis on the

movements depending on the acting situation.

A.3 The actors must be aware of the usage of the properties and set on

stage.

B. Voice

B.1 The actors must deliver the lines in a natural way

B.2 Appropriate voice quality should be consider

B.3 Vocal variety is necessary in communicating the message of the

play to the audience.

4. Speech and Theater Arts Guild in Education (STAGE)

A. Body

A.1 The actors explore the space and move on stage freely but

awareness should be present.

A. 2 The actors should be aware in doing movements to avoid

exaggeration.

A.3 The performances of the actors are affected by proper gestures and

facial expressions to show distinction of each character.

B. Voice
 23

B.1 The emotions of the actors are shown through his manner of

delivery of the dialogue.

B.3 The factors to consider in achieving a well modulated voice are:

motivation of the actor and the mastery of lines as well as the quality of

the voice are considered.

B.4 The actors achieve a good portrayal of the character if f he can

interact with his other actors showing the relationship of their characters.

Table 2
LIST OF THE BASIC CRITERIA OF REALISTIC ACTING

Theater
Practitioners Basic Criteria of Realistic Acting Frequency Rank
Number %

1.Tanghalang A. Body
Pilipino 1. Moves on stage in a natural way 5 out of 6 83 1
2. Uses facial expressions and gestures 2 out of 6 33 4
3. Possesses presence of mind. 3 out of 6 50 3
4. Shows appropriate gestures. 4 out of 6 66 2

B. Voice
1.Delivers the lines in a natural way 2 out of 6 33 4
2.Achieves a well-modulated voice through clarity of 5 out of 6 83 1
words, proper enunciation and correct stressing of
words
3. Shows emotions through vocal variety. 4 out of 6 66 2
4. Projects the voice according to the character 3 out of 6 50 3

2. Dulaang UP A. Body
1. Moves on stage without exaggerations. 6 out of 6 100 1
2.Explores the stage with awareness to the setting 2 out of 6 33 4
3.Communicates the message of the play 5 out of 6 83 2
through gestures
4.Builds-up the character using appropriate and 4 out of 6 66 3
facial expressions
B. Voice
1. Considers certain factors such as loudness clarity, 4 out of 6 66 2
proper stress and intonation and words.
2. Uses vocal variety such as pitch, tone and 2 out of 6 33 3
 24

intensity.
3.Delivers the lines depending on his characters 5 out of 6 83 1

3. PETA A. Body
1.Builds – up their characters with emphasis on 1 out of 2 50 2
movements
2. Possesses awareness on the usage of the props and 2 out of 2 100 1
set.
3.Moves on stage in a natural and realistic way 2 out of 2 100 1
4.Acquires confidence to express him by moving on 1 out of 2 50 2
stage
B. Voice
1. Delivers the dialogue in a natural way. 2 out of 2 100 1
2.Uses vocal variety to show intensity of emotions 1 out of 1 50 2
3.Considers the appropriate voice quality 1 out of 1 50 2
4.Communicates the message of the play to 2 out of 2 100 1
the audience through vocal variety

4.STAGE A. Body
1.Uses proper gestures and facial expressions 3 out of 4 75 2
2.Explores the space and moves on stage freely with 2 out of 2 50 3
awareness
3.Shows the building-up of character to meet the 4 out of 4 100 1
needs of the play
B. Voice
1. Achieves a well-modulated voice through 3 out of 4 75 2
motivation
and mastery of the lines as well as the
2. Show emotions through the manner of delivery of 2 out of 4 50 3
the lines
3. Considers the presence of his co-actors as he 4 out of 4 100 1
delivers the lines.
 25

Analysis of the Data

Generally, Ibsen pointed out that it is not mainly with detailed and specific

properties on stage to make the audience feel the “situation” the play suggests but with

making the audience create their own properties in mind as they put and relate themselves

in that situation. Acting makes use of two kinds of physical skills: movement and voice.

Either may dominate. The physical skills needed by actors are a well-developed body and

voice, ability to imitate other people's gestures and mannerisms, and mastery of the

physical or vocal abilities required by the type of theater for which the actor is preparing.

For Chekhov, it is with showing the people the “real” social situation by having

his characters most likely to be indifferent and feel trapped into different dreary

circumstances or refined social depression that they fear to rectify in a very symbolic

way. It is by actor learning to control voice and body to express emotions. Actors are

armed with a variety of exercises to improve their vocal quality (projection, tone,

inflections, pitch, and rate) and their articulation (pronouncing words clearly and

accurately).

Stanislavski said that an actor's voice and body should receive thorough

training so that voice and body are as responsive and flexible as possible. After all, these

are the actor's major communication tools. Further, an actor's training is life long. The

body’s self willingness, getting control over your own self, known in acting theory as a

mastery of emotions, body, voice, etc.

Based from the responses of drama experts, a realistic play conveys one societal

problem that should be communicated well to the audience. The purpose of this is to

leave an impact to the crowd. To achieve this purpose, there is a need to make the play
 26

realistic in every way it can to make the audience relate to every role being portrayed and

eventually appreciates the beauty of the play itself. The reasons why this set of factors

that need to be considered regarding the body movements and voice projection were

listed down to emphasize its significance as the major components of realistic acting.

Body, as one of the main categories in realistic acting, was pointed out the need of

having proper gestures to explicit characterization of actors. It is not necessary to execute

detailed gestures but the main goal is to use appropriate movements. It can also help the

actors to react on things that are happening on stage. That is why the actors should

possess awareness and presence of mind.

Voice, as another category in realistic acting was emphasized as a tool of an actor.

It should be evident as delivered to implicate variations in pitch, tone and intensity. In

this manner, the emotions were seen through the delivery of lines and variations of

loudness, clarity and intonation.

The factors to consider as the basic criteria of realistic acting are all evident in

showing the audience a realistic portrayal of the character. In this manner, the actors

make the audience believe to what is happening on the stage. Through the proper

projection of voice and appropriate body movements, the actors achieved a realistic

performance. The set and properties should be realistically built. The stage should look

like an actual environment where the actions of the play happened

Based on the responses of the experts, the researchers came up with the checklist

of the physical indicators of stage acting in realistic drama under the categories of body

and voice.
 27

Table 2.1
Checklist of Basic Criteria of Realistic Acting

Criteria of Realistic Acting

Body Voice

• A realistic acting requires a detailed and • Appropriateness of voice quality of the

bigger gestures and facial expressions actor should be considered.

• The actors must be aware of the usage of • The intensity of the emotion of the

the props and set on stage. actor is recognized through vocal

• Natural way of moving on stage which fits variety.

the character conveying real;-life setting • Variations of voice are necessary in

• The actors must possess presence of mind communicating the message of the

in a way he interacts with other actors and play to the audience.

the usage of props. • In achieving a well- modulated voice ,

• The actors show transitions of facial the factors are to be considered: clarity

expressions as the mood of the character of words, proper enunciation with the

changes. correct stress that suits to the mood of

• The actors should be confident and have the character as well as how he moves

no inhibitions ton express himself by on stage

moving on stage freely, • Vocal variety is necessary in

• The actors build up their character s with communicating the message of the

the emphasis if the movements depending play to the audience.

on the acting situation.

 28

In this checklist, the body movements and voice projection were pointed out as

the two main categories in achieving an effective realistic acting. Gestures and facial

expression are significant factors in communicating the message of the play to the

audience. These indicators should be seen by the audience vividly. The actors should gain

awareness when moving on stage freely and must execute the properties in an appropriate

manner. The movements should be in a natural way and the character should build-up

depending on the use of gestures depending on the acting situation. The actors should

also possess confidence to express the character’s feelings through movements as he

explores the stage.

In voice projection, the actors show emotions through variations in pitch, tone,

accent and intensity. The actors should consider the presence of his co-actors as he

delivers the lines in a way that the cues and performance is greatly affected by those

factors.

Therefore, the actors should use proper body movements and projects his voice

clearly. In this way, the acting would become effective showing the real life setting.
 29

Chapter V

Summary, Conclusion and Recommendation

This chapter contains the summary of findings, conclusion and the

recommendation of the study.

A. Statement of the problem

The study aimed to come up with the basic criteria of realistic acting.

Specifically it sought to:

1. identify the physical indicators of stage acting in realistic drama under the
categories of :
c. body
d. voice
2. provide a checklist of physical indicators of stage acting in realistic drama

B. Methodology

This study used a descriptive type of research design to identify the basic criteria

of realistic acting under the categories of body and voice. The researchers described what

a realistic acting should possess regarding body movements and voice projection.

In pursuing the study, the researchers constructed a survey questionnaire to obtain

insights and views from Drama Practitioners. The responses to this questionnaire were

considered in identifying the physical indicators of stage acting in realistic drama.

This questionnaire was composed of questions that focused on body movements

and voice projection

The researchers gathered the views and ideas from a set of drama practitioners

through the given questionnaire. The ideas were gathered and analyzed by the researchers

to identify the basic criteria of realistic acting.

 30

As the data were analyzed, the factors to consider in body movements and voice

projection were given emphasis to achieve a more realistic performance. After the

researchers identify the physical indicators, they came up with the checklist that

contained the guidelines to follow in a realistic performance.

Summary of findings

Based on the responses of the practitioners, the researchers came up with

these findings:

The following are the checklist of basic criteria of realistic acting.

A. Body

1. A realistic acting requires a detailed and bigger gestures and facial

expressions.

2. The actors must be aware of the usage of the props and set on stage.

3. Natural way of moving on stage which fits the character conveying real;-

life setting

4. The actors must possess presence of mind in a way he interacts with other

actors and the usage of props

5. The actors show transitions of facial expressions as the mood of the

character changes.

6. The actors should be confident and have no inhibitions ton express himself

by moving on stage freely.

7. The actors build up their character s with the emphasis if the movements

depending on the acting situation.

 31

B. Voice

1. Appropriateness of voice quality of the actor should be considered.

2. The intensity of the emotion of the actor is recognized through vocal

variety.

3. Variations of voice are necessary in communicating the message of the

play to the audience.

4. In achieving a well- modulated voice , the factors are to be considered:

clarity of words, proper enunciation with the correct stress that suits to the

mood of the character as well as how he moves on stage

5. Vocal variety is necessary in communicating the message of the play to the

audience.

These set of factors should be considered in a realistic acting based on the

answers on the experts to achieve the purpose of a realistic play reflecting what is

occurring in the society. These are suggestions in using body and voice in an evident

manner to act more realistically.

Based on the responses of the drama practitioners, a realistic acting conveys one

societal problem that should be communicated well to the audience. The purpose of this

is to leave an impact to the crowd.

For this reason, there is a need to make the play realistic in every way it can for

the audience to relate to every role portrayed and eventually appreciate the beauty of the

play itself. The reason why this set of factors that to be considered regarding body

movements and voice projection were listed down to emphasize its significance in a

realistic play.
 32

Body and voice are the two main categories underlying the basic criteria of

realistic acting. The researchers pointed out that this set of factors is significant for

realistic acting. It is not necessary to execute detailed gestures but the main goal is to use

appropriate movements that fit to the role. It can also help the actors to react on things

that were happening on stage as well as awareness and presence of mind help the actors

to move freely on stage and explore the space. The actors should also consider the voice

quality such as the clarity, appropriate pitch, tone, intensity, stress and intonation to

achieve a realistic effect in acting. The actors must help these two factors to portray a

realistic performance.

Conclusion:

The researchers concluded that a realistic acting requires certain criteria to follow

regarding the execution of body movements and voice projection. The proper way of

executing body movements is significant in realistic play in a sense that it is a tool of an

actor to express the feelings, moods and ideas of the character. In this manner, the actors

make the audience believe on what is happening on stage. The actors move on stage in a

realistic way to communicate to the audience the message of the play.

For this reason, well- executed movements should be considered in achieving a

realistic performance.

A good quality of voice is another essential tool for the actors to achieve a good

portrayal of the role. Voice qualities such as the clarity, appropriate pitch, tone, intensity,

stress and intonation should be present in the actor’s performance. In the manner of the

delivery of lines, the actors should achieve a well-modulated voice considering the

different elements of voice qualities giving the audience the theme of the play.
 33

Body and voice are two significant tools in a realistic acting. The actors must have

these basic requirements to achieve a realistic performance.

Recommendation:

The researchers recommend that this study needs a further and intensive type of

research which focused on identifying the basic requirements of realistic acting under the

categories of body and voice. The research is a preliminary study covering the basic

criteria of realistic acting.

The checklist of the basic criteria is subjected to content and construct validation

to a set of drama experts. The checklist should be specific for the use of actors, directors,

or any positions in a production.

An in-depth analysis of the concepts of realism should be done to come up with

other actors’ tool, such as the mind.

The concern of this study is to come up with the basic criteria of realistic acting;

therefore, future researchers may possibly conduct a study on identifying other indicators

of realistic acting.

The researchers also recommend this for modification to arrive with the other

tools in acting aside from body and voice and standardized checklist of indicators for

future use.
 34

Appendix A

Philippine Normal University

College of Arts and Social Sciences
Department of Humanities
Speech and Theater Arts Unit

_____________________

Sir/Madam:

Greetings in the name of Performing Arts!

We, the III-26 BSE Speech and Theater Arts Majors are conducting a thesis entitled “A
Descriptive Study of the Basic Criteria of Realistic Acting” as a final requirement in one
of our major subjects, STA 14- Research and Thesis writing.

May we ask for your help by answering this questionnaire. Rest assure that the data you
will furnish will be kept in high confidentiality.

Thank you very much.

Yours truly,

The Researchers

Barrato, Mylene D.
Kalugdan, Erika Jane L.
Malihan, Christine Joy J.
Palmenco, Jenny D.
Tanio, Gloricelle Ann A.

Noted:

Prof. Maebelene M. Aala

Thesis Adviser
 35

Appendix B

Philippine Normal University

College of Arts and Social Sciences
Department of Humanities
Speech and Theater Arts Unit

A Questionnaire for Drama Experts

PART A

Demographic Profile

Name (optional): _______________________________________________

Age: _______________________________________________
Years of Theater Experience: _______________________________________________
Gender: _______________________________________________
Professional Affiliation: _______________________________________________

PART B

Direction: Answer the following questions under the criteria of a) body and
b) voice in the space provided.

A. Body:
1. How does an actor move on stage in a realistic play?
___________________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________

2. How does the character build- up?

___________________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________

3. What characteristics should an actor possess in a realistic play?

___________________________________________________________
___________________________________________________________
___________________________________________________________

4. What is the significance of proper gestures and facial expressions for the
performance of the actor in a realistic play?
___________________________________________________________
___________________________________________________________
 36

___________________________________________________________
___________________________________________________________

B. Voice:

1. How does an actor show emotional intensity through dialogue?

___________________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________

2. How should an actor deliver his lines in a realistic play?

___________________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________

3. What are the factors to consider in achieving a well- modulated voice in a realistic
play?
___________________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________

4. How does the vocal variety affect the performance of an actor in a realistic play?
___________________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________

Others: Pls. Specify

___________________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________
 37

Appendix C

Profile of the Respondents

1. Tanghalang Filipino (TF)

The respondents from TF (Tanghalang Filipino) consist of two (2)

males or 33% and four (4) females or 67% of the overall respondents. Their

ages range from 17-22 years old. Most of the respondents have one to seven

years of experience in the field of theater.

2. Dulaang UP ( DUP )

The respondents from DUP (Dulaang UP) consist of three (3)

males or 50% and three (3) females or 67% of the overall respondents.

Their ages range from 30-55 years old. Most of the respondents have one

to twenty-five years of experience in the field of theater.

3. Philippine Educational Theater Association ( PETA )

The respondents from PETA (Philippine Educational Theater

Association) consist of 2 males or the total number of the respondents.

Their ages range from twenty-five to forty or the total percentage. Most of

the respondents have one to twenty years of experience in the field of

theater.

4. Speech and Theater Arts Guild in Education ( STAGE )

The respondents from STAGE (Speech and Theater Arts Guild in

Education) consist of 1 male or 25% and 3 females or 75 % of the overall

respondents. Most of the respondents are Speech and Theater Arts majors
 38

in the Philippine Normal University and have four years of experience in

the field of theater.

Bibliography:

A. Books

Alburger, James R.2002. The Art of Voice Acting. Boston, Focal Press.
Beck, Roy.1992. Stagecraft. Lincolnwood III, National Text Book.
Brockett, Oscar.1980. The Essential Theater. New York, Halt Rinchart and Winston.
Brooks, Cleanth, Heliman, Robert. 1948. Understanding Drama. New York.
Evans, Cheryll.1992.Acting In Theater. London.
Fortiere, Mark.2002. Theory/Theater: An Introduction. London, Routeledge.
Gillete, Michael.1992. Theatrical Design and Production. Mayfield Publishing.
Harrop, John; Eplein, Sabin R.1990. Acting with Style, Second Edition. Ebglegood
Cliffs, New Jersey. Prentice Hall.
Jacobus, Lee.1989. The Bedford Introduction to Drama.
Missouri, William .2007.The Art of Theater: Then and Now. Belmont, CA.
Slyan, J.L.1975.Drama, Stage and Audience. Cambridge University.
Toby, Cole.1970. Actors on Acting: The Theories, techniques and Practices of the
Worlds’ Great Actors. New York Crown Publisher, Inc.
B. Thesis
Caday, Natividad.1982. Communicating With People Through the Theater. Thesis
(M.A. Education) Philippine Normal University

Cadiz. Normita C. 2001..Adaptive Utilization of Eric Morris Acting Approach for

Beginning Actors. Thesis[M..A. Education}Philippine Normal University

Navarro, Anita M.1989. A Scheme of Pre-Production Analysis and Interpretation of

Plays for Beginning Actors. Thesis[M.A. Drama and Theater Arts]
Philippine Normal University.

Tungpalan, LB March, 2000. Creative Drama Based on Modules in Teaching

Speech and Drama in the Tertiary Level.Phillipine Normal University.

B. Special Project
Perez, Mary Leigh Ann. October,2003. Activities for Play Production Workshop.
Philippine Normal University
 39

D. Article
Navarro, Anita M.1998.The Arts of Acting: Concepts and Practices

The Researchers’ Profile

Barrato, Mylene De Jose

Age: 19 yrs. Old
Address: 11-A Gen. Ricarte St. South Cembo, Makati City
Birthdate:July 11, 1987
Contact number: 0922 313 34 09
Educational Profile:

YEAR LEVEL SCHOOL YEAR GRADUATED

South Cembo Elementary
PRIMARY School 1999
Fort Bonifacio High School,
SECONDARY Makati City 2003
Philippine Normal University,
TERTIARY Taft Avenue, Manila

Malihan, Christine Joy Jasmin

Age: 21 yrs. old
Address: 2103 Bagong Pag-asa St. Baclaran Parañaque City
Birth date: October 21, 1985
Contact Number: 0920 708 43 57
Educational Profile:

YEAR LEVEL SCHOOL YEAR GRADUATED

Philippine Normal University
PRIMARY Laboratory School 1999
Taft Avenue, Manila
Philippine Normal University CTL
SECONDARY Taft Avenue, Manila 2003
 40

Philippine Normal University

TERTIARY Taft Avenue, Manila

Palmenco, Jenny Dural

Age: 20 yrs old
Address: 1560 P. Santos St. Bangkal, Makati City
Birth date: June 06, 1986
Contact Number: 0920 861 85 20
Educational Profile:

YEAR LEVEL SCHOOL YEAR GRADUATED

Jose D. Villena Elem. School
PRIMARY Gen. Lim St, Brgy. Bangkal, Makati 1999
City
Makati Science High School
SECONDARY Escuela St., Brgy. Poblacion, 2003
Makati City
Philippine Normal University
TERTIARY Taft Avenue, Manila

Tanio, Gloricelle Ann Alvarez

Age: 19 yrs old
Address: #01 San Jose II, Noveleta Cavite
Birth date: September 17, 1987
Contact Number: 0922 744 85 36
Educational Profile:

YEAR LEVEL SCHOOL YEAR GRADUATED

Ambrosio Robles Memorial Elem.
PRIMARY School (Formerly San Jose Elem. 1999
School)
San Jose II, Noveleta, Cavite
Rosario Institute
SECONDARY Rosario, Cavite 2003
 41

Philippine Normal University

TERTIARY Taft Avenue, Manila