It is the visual interpretation of each movement in play. It is the placing of characters in a location that suggest their emotional and mental attitude towards each others so that the dramatic nature of the situation will be covered to an audience without the use of the dialogue and the movement. In picturization, instinct tells the actors to keep away from those whom they dislike, suspect, oppose, and near those whom they trust, endorse, agree with and love. This emotional picturization state tells director where to place each character in a scene in relation to the character.
Movement is the stage picture in action. It has both a technical and mood value. Movements such as exit and entrance or hiding of an object or character are supplied by playwright for the necessary action in the progression of the story. Movements may be valued as strong or weak. The exploitation of movements either strong or weak depending upon the character, his lines of dialogue and the situation.
Rhythm is an experience we receive when a sequence of impressions, auditory or visual has been ordered into a recurrence of accented groups. This experience is marked by a willingness to adjust ourselves emotionally and mascularly so as to conform to the pulsing quality in rhythmic experience related to two fundamental life processes in nature. One is the beating of the heart, and the other is the breathing of the lung.
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