The research into non-verbal communication, examines some of the recent theories on body language from multiple disciplines. Two theorists examined in particular were the surveillance expert Joe Navarro and the psychologist and facial reading expert Paul Eckman. The study of body language can most obviously be classified as facial, or corporeal (e.g. torso, legs and feet) but also incorporates gesture proxemics, chronemics and cultural influence. Recent technology, for example in brain scanning, gives
unequivocal validity to information gathered on the subject by experts Navarro and Eckman. However our intuitive understanding can also be highly accurate though it is open to bias.
Our animal heritage clearly makes us respond in a primal way to most emotional signals. [3], [4], [7] Indeed, MIT professor of robotics Sherry Turkle, has stated that anthropomorphism makes us ‘read emotions and intentions into all sorts of things’, including cold automatons. [15] This is why the Uncanny Valley phenomenon is such a challenge. We are programmed to respond emotionally inallcontexts. It is therefore important to understand fundamentals of human expression and behaviour. However abstract, stylised and impressionistic an animation performance is, there needs to be some underlying truth to its design. The audience needs to recognize specific moods and intentions in order to connect emotionally to any character or narrative.
It helps to understand the rhythm of various emotions and animal drives, and how these express, or suggest themselves spatially. It is equally important to understand the physical range and limits of different emotions – as articulated in the body.
Additionally, it is important to understand how personality is shaped by our unique, complex emotional experiences and how these manifest in the physicality
of an individual.
Our anthropomorphic tendencies mean we read emotional significance into anything: therefore it is important that character animators are aware of the symbolism inherent in any character’s performance, or narrative approach.
PhD Thesis, Nottingham Trent and Southampton Solent University Annabel Lagasse [129]
needs to make imaginative leaps to translate everyday behaviour into character performance with ‘appeal’.
1) Making the numerous imaginative leaps necessary in artistic work takes effort and practice. It requires a type of creative training quite different to the acquisition of technical skills (For example, art school training or Lecoq’s training differs from many other kinds of training, as it emphasises the development of an individual above method or style.)
2) Experiential learning that involves all the senses, can aid the artist in developing creative ‘vocabulary’. Through experiential learning, the artist may develop rich, unique emotional memories. This often requires open-ended approaches that defy
conventional measures. As visual arts curriculum become more structured and formulised, students are not necessarily given time or space to develop
these creative skills.
3) Any open-ended exploration involving sensory observation needs ideally to be centred on the body and its dynamics, for this is central to character animation. Theatrical performance, can inform us of the dramatic potential of the body in relation to its environment or to another.
4) In researching performance practice and theory (where corporal expression is central), one can discover how experiential learning translates into creative production: be it new ideas, new forms, or more accurate and subtle expressions etc.
The outcome from learning of this type is not to teach rules but to ultimately encourage personal responses and develop individual artistry.
PhD Thesis, Nottingham Trent and Southampton Solent University Annabel Lagasse [130]
Figure [1]Barack and Michelle Obama visit the Queen 2009 at
Buckingham Palace. Michelle demonstrates submission to the queen by curtseying. Barack maintains a respectful distance.
Figure [2] Portrait of Adolph Hitler, as published by Sinay Tarakanov, (2012-2014) in his article
Body Language Gestures: Power Gestures, (The Oratory Style of Adolph Hitler),[2] Here is an example of the negative power of gesture. Hitler taught himself to appear more charismatic in public by practicing his speeches using powerful gestures, in front of the mirror.
PhD Thesis, Nottingham Trent and Southampton Solent University Annabel Lagasse [131]
Figure[3] Open and Positive Body Language Postures: Honesty, Sinay Tarakanov, (published 2012- 2014). When we want others to trust and believe us we need to show that we have nothing to hide. By exposing the ventral side and removing physical objects in front of us we remove the physical block
PhD Thesis, Nottingham Trent and Southampton Solent University Annabel Lagasse [132]
Figure [4] Film still of Alice in Wonderland (2010) Dir: Tim Burton.
Green screen action with the Red Queen, Alice and Twdledee and Twdledum
Figure [5] Film still of Alice in Wonderland (2010) Dir: Tim Burton. Green screen action with the White Queen, Alice and The Hatter
PhD Thesis, Nottingham Trent and Southampton Solent University Annabel Lagasse [133]
Figure [6] P. Eckman, Diagram on Core Emotions, published in his book Emotions Revealed
(2004)
Figure [7] Diagramatic photograph from the Twentieth Century Fox TV show Lie to Me, (2009- 2011), Creator: Samuel Baum, based on P.Eckman’s research work
PhD Thesis, Nottingham Trent and Southampton Solent University Annabel Lagasse [134]