| By Rosli Abidin
Yahya
Throughout the history of
television drama, debate has continued over the question of
whether the actor is a creative artist or simply an interpreter.
Since the actor's performance
is usually based on the drama, and the dramatist is conceded to
be a creative artist, it is sometimes concluded that the actor
must be only an interpretive artist.
In the book, "The Art of
Acting" the American drama teacher Brander Matthews
remarked that the actor needs to have under control not only his
gestures and his tones, but all other means of stimulating
sensibility and these should be ready for use at all times,
wholly independent of the words of the text.
India's main textbook for
actors, the Natya-sastra, provides specifications for the
representation of emotions down to the smallest gesture for
nearly 2,000 years where its influence is still visible in such
dramatic forms as kudyattam (which has carried on the traditions
of Sanskrit drama for about a thousand years) and in the
kathakali dance drama, a relative newcomer that emerged
contemporaneously with Shakespeare.
Expressions in acting in
television dramas (in Brunei Darussalam context) shall be up for
discussion by three notable actors and one actress at the Drama
Appreciation dialogue to be held at the Balai Sarmayuda, Dewan
Bahasa dan Pustaka Brunei Darussalam in Berakas commencing at
2pm.
The dialogue, to be chaired by
Muhammad bin Salleh would be the second in the drama
appreciation dialogue organised by the Affiliation of Drama,
Entertainment and Creative Artists (GAPHAR) in joint-cooperation
with the Language and Literature Bureau (DBP), Ministry of
Culture, Youth and Sports.
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