Characters feel. Sometimes their emotions are extremely intense. Many actors have a rough time getting to their emotions, and layering them into a performance. It can be difficult to play an emotion that is somewhat foreign or uncomfortable to you. This is certainly true, and it is the foundation for the on-going popularity of The Method, a system where the actor is asked to look at his own life history to locate moments where a needed emotion was felt by the actor, in order to “re-create it”. This, of course, locks the actor in his own past, just when he most needs to be right in the present…when he’s creating.
There are better ways. The Method assumes you can’t create an emotion out of nothing but your wish to create it, right now. You can. Children do this constantly. They decide that now is a good time to get upset, so they cry and scream and throw temper tantrums. Adults stare in horrified wonder at the rapid, mercurial changes a child can pass through, emotionally. You’ve heard of the “Terrible Twos”? Their not a myth, I have two children, and I know. And you’ll notice that there are few two year-olds who have studied The Method…
I know this sounds silly, but if a two year-old can do it, so can you.
I directed an actress in a play once, who I asked NOT to cry in a scene. She cried. Afterward, almost an hour later, I found her in her dressing room, still in tears. I was concerned. I asked her if she had hurt herself. She said she had not, that she just “couldn’t get out of character”. She was never in character, of course. She was just crazy.
Anyone can create any emotion at any moment. All emotions are created. They don’t come at you from outside. You decide to fall in love! You decide that a thing is funny, or sad! No one makes you angry, or makes you cry. No one makes you happy. That’s all you, and if you’re honest and sane, you know this is so.
An actor needs to be especially aware of his ability to create an emotion upon demand. It’s his livelihood. Now, you can choose to be nuts about this, and put yourself through all sorts of memory-oriented torture, in order to get that one, precious tear. Frankly, I’d rather see a glycerin tear, and I know that deeply offends many actors. Folks, this is an art, yes, but it’s also a job. You should do the job professionally, with as little pain and misapplied drama as is humanly possible. Your fellow artists will bless you.
So how does one get to an emotion? Well, how does one get to Carnegie Hall? Practice, practice, practice. When you rehearse, hopefully you’re going to do a lot of experimenting with emotions in context to your work. For now, you should practice turning emotions on and off at your demand, until you know you can do this.
_______________
EXERCISE: Select a scene from any play with a character you could play in it. Find someone to read the other roles, if possible. Look the scene over and select a single emotion the character might feel at some point in the seen, such as sorrow, anger, boredom or elation. For the first experiment, select a grimmer emotion, an unhappy or angry one. Go through the scene five time with your partner (or alone), using the dialogue and action to express ONLY the selected emotion, whether it makes sense or not. Groove the emotion in. Get control over it. You should notice that, as you do this repeatedly, the emotion becomes easier to contact or create and control. Do it more than five times, as needed, but not less than five times. Once you have control over it, take five minutes off, get some air. Then, select a happier emotion, like hope, or elation. Run the scene again at least five times, using only that emotion, regardless of the sense it makes. When you’ve mastered turning on and off that emotion, and contacting or creating it at will, you’re done. You may do this with any number of emotions, whenever needed, to work at creating and controlling the needed emotion.
__________________
Showing posts with label acting technique. Show all posts
Showing posts with label acting technique. Show all posts
Tuesday, July 20, 2010
Monday, July 5, 2010
What IS Acting?
The following is taken from the first chapter of a book I've authored on the acting technique I teach, which is called Ethical Art. There will be times I take excerpts from the book, and other times I write about something current. I think this part of that first chapter gives us a strong starting point. Enjoy! And do the exercises when they show up if you want the maximum gain. Don't just read. Acting is an active thing!
_____
Acting Defined
Let’s start with the most basic of information. You probably know a great deal of what will be discussed in this chapter, but at worst, it’s a worthwhile review. Perhaps your understanding of acting can be clarified and refined.
Acting could be defined as: the use of a human body and/or voice, intelligence, and other human qualities, in order to create the acceptable illusion of a specific Being (person, animal, etc) or Object, including that specific Being or Object’s experiences, thoughts, emotions, and existence during a given event or series of events.
Acting is used in a number of ways, today:
ACTING AS A WAY TO AVOID TROUBLE, HOMEWORK, AND THE POLICE:
I’m sure you already have a good grasp on this usage of acting. Every seven year old who insisted with perfectly straight face that Spot ate their homework, gets this. Let’s move on.
ACTING IS A CRAFT:
One dictionary defines a craft as: an occupation or avocation requiring special skills, especially manual ones, including carpentry, sewing, pottery, etc.
Acting can be and often is an occupation, as we will discuss. Needless to say, many people make a living as actors. It can be an avocation, a hobby done for fun. It requires very specialized skills, something discussed throughout this book. Many of the skills are manual, involving control over the body and it’s functions in order to create an effect. The actor uses his body and voice to carefully etch the illusion of a character. Acting can be defined as a craft, accordingly, and in it’s “starter”, more rudimentary phases, when an actor is developing skills, that is exactly what an actor is, a developing craftsman.
ACTING IS ART:
All art, any art form, has principally to do with communication. Artists are professional “communicators”. An artist is a specialist who selects what he wishes to communicate, and in what manner or method, using what media and tools.
An artist is one who has mastered to some extent the tools of a craft, and transcended that craft. His works communicate. His works are received and understood. His works also move an audience to feel emotion. Often, art leads its audience to think new or better thoughts, or to spiritual heights. Great art does all of this, and more, and it does it every day.
To be an artist, one must have truly mastered many of the tools of that art form, and its techniques. To become a great artist, one must have accomplished this to a very high degree, and be gifted with a real vision of what one wishes to communicate. One must then be able to communicate that vision to the audience compellingly and consistently, using the art form selected. We’ll discuss what makes a great artist at great length, later in this book.
A person who understands and can use the tools of acting to create emotionally compelling performances is an actor, and is using the skills of acting to create art.
ACTING IS AN AVOCATION (A HOBBY):
Acting is fun. Many people try acting out while still in school, and continue performing in local amateur and semi-professional situations while pursuing a livelihood in other fields. Some very expert actors can be found performing regularly in community and local theatres all over the world. This book is no less for the “amateur” actor than the award-winning Broadway regular. Good acting is good acting, wherever it is found.
ACTING IS A PROFESSION:
Actors pour into Los Angeles, New York, and London from all over the English-speaking world, in order to pursue a career in acting. These cities are where “the INDUSTRY”, or “the BUSINESS” of acting is focused. Los Angeles is where one generally comes to break into film, and TV. London and New York have thriving film and television industries as well, but are renowned for their professional theatre.
A professional actor is an actor who MAKES THEIR LIVING BY ACTING. An actor can make a living doing TV, film, theatre, radio, commercials, print work (print advertisements), voice over work (i.e., doing cartoon voices, radio work, etc.), and in new ways being invented as we speak, as the media used to communicate performances varies and expands. Regardless, a pro is paid to act. Don’t mistake it, just being paid does not make one a great, or even necessarily a good actor. But being paid does make one a professional.
_____________________
EXERCISE:
Which manifestations of acting are you interested in? Acting as Craft? Art? Hobby? Profession. All of the above? Some of the above? Decide which ones you are interested in and why.
_____________________
If one is in a UNION, one of the organizations established to represent actors and their rights, one is generally considered a professional, as well. These include (in the United States) the SCREEN ACTOR’S GUILD (SAG), for most film and television, The American Federation of Television and Radio Artists (AFTRA), who represent daytime Soap Opera, radio talent, some commercials and other areas, and ACTOR’S EQUITY ASSOCIATION (AEA), for professional performers in the theatre. However, many actors today get work outside of these union’s jurisdiction, in non-union jobs, and are paid for that work, sometimes in rates as high as Union jobs. More on unions later.
WHAT ACTING IS NOT:
It is as just as important to understand what acting is not, or what it should not be. Acting is NOT “therapy”. It is not a way to work out your personal problems. In fact, and this may deeply offend a few readers, acting is not about the actor and his needs. It’s not about you. It’s not about the “rush” you feel when the curtain goes up, though this is a perfectly fine thing. It’s not even about the satisfaction the actor experiences when the audience gives a standing ovation at the end of the performance, though that is a wonderful thing, as well. It’s not even about the awards you may win someday.
Acting is about the character you play, and the communication of that character, in full, sent by you and received by the audience. The audience (or producer, however you want to look at it) foot the bill. They pay so that the production exists and so that you are paid. Your job is to entertain THEM, not yourself. You’re paid to communicate your character and the entire piece that the character appears in, to the best of your ability, so that the audience may be moved in various ways and feel that their time and money were well spent. If you want to observe and admire a performance, buy a ticket and sit with the audience. An actor is NOT a part of the audience. He is, however, a large part of the reason the audience gathers. An actor is NOT the critic, sent by the local newspaper to write nasty or pointless things about the actor’s performance. The actor is the performer the critic is watching tonight. It is not the actor’s job to critique his own performance. It isn’t even the actor’s job to worry over what the critic will write and say about the actor! It is the actor’s job to deliver a performance, first and last.
An Actor is also NOT the writer. It is not his job to rewrite dialogue, story, or anything else, especially in the theatre. There has grown over the years a sad and unfortunate tendency in TV and film for performers to believe they somehow know more about writing than professional writers. They don’t, and a result of this trend is a steady decline in the quality of works presented cinematically and on television. When a writer sells a work in TV/film, the work is called a “property”. And just like a piece of property, say a desk, once sold, the buyer may do anything he wants to it, including sawing off the legs and turning it into a snow sled. This is, fortunately, not generally the case in theatre, where the writer’s work cannot be altered except by the writer. It is of course true that there are actors who are also fine writers. But one should always be aware of which hat one is wearing at any given time. If you’re being the “actor” today, be the actor. When you’re the writer, then be the writer.
A writer selects his words very carefully, if he’s a decent writer. The words are not arbitrary. They are selected to create a desired effect. It is a part of the actor’s job to DELIVER THE WORDS SELECTED BY THE WRITER in as compelling a manner as possible. It is not his job to rewrite those words.
In much the same manner, the actor is NOT the director, set designer, choreographer, musical director, costume designer, light designer, stagehand, grip, best boy, producer, or anything other than an actor! Just as you, the actor, wish to have control over your own responsibilities as an actor, these other specialists will insist on control over theirs. It’s one thing to make the occasional suggestion (when asked for, or when the creative situation truly allows for a non-critical discussion). All too often, the actor thinks he “knows best” what the costumes or sets or direction should be. These things may be discussed if such a discussion is allowed or invited, but the specialist in that area should always make decisions for his own area.
Taking this further, actors are NOT acting teachers, not while they’re acting in a piece, even if they may be acting teachers outside the production. It is NEVER your job as an actor to critique a fellow actor’s performance or work, not even to improve your own performance, and especially when you haven’t been asked. Even when asked for your help or opinion, you’re courting hatred and disgust from your fellow actors if you offer any critique of their work. Think what you want about other actors. That’s your right. But keep your thoughts to yourself.
In short, an actor is NOT a member of the audience, is NOT a critic, NOT a writer, director, designer, choreographer, acting teacher, or anything other than an actor, not while he or she is acting! He may be any or all of these things, at other times. But while acting, he’s an actor whose job it is to create thoroughly a role, making it interesting and compelling, and then communicating it (as a part of a larger presentation, usually) in a way that an audience may understand and be moved by the creation.
(End of excerpt from the book, The Ethical Art Technique)
________
Well, that's where I'd like to start. Let's agree on why you are an actor, and what we're trying to accomplish. I'm FINE if a part of your goal is to make money as an actor, even a lot of money. Why not! Money in this civilization is an indication of acceptance and what the world thinks of one's value. It's a good thing when artists are highly value. Art is a very important product of civilization, and good (or great) artists should be honored and compensated well. But money cannot be the only reason one acts, or I can almost assure you that you'll fail. You had best be doing this because you LOVE LOVE LOVE to act, because it's a tough profession in many ways. And it would be better still if you plan to use your art to make the world a little bit better of a place to live. Things are getting pretty ugly out there, the world can use all the life-affirming art it can get.
Now, here's a link you may enjoy! It's on Daily Actor, and it shows a great interview with Denzel Washington and Viola Davis about acting in film and on stage. It was brought to my attention by a student, Devin Rice, who is very intense about his own career. Take a look, they know what they're talking about and there's something to learn when actor's with that kind of experience open up. (I've never tried to insert a link into a blog. If it does not show up, I'll find a way to share it with you tomorrow.)
Another post tomorrow!
Steven Horwich
_____
Acting Defined
Let’s start with the most basic of information. You probably know a great deal of what will be discussed in this chapter, but at worst, it’s a worthwhile review. Perhaps your understanding of acting can be clarified and refined.
Acting could be defined as: the use of a human body and/or voice, intelligence, and other human qualities, in order to create the acceptable illusion of a specific Being (person, animal, etc) or Object, including that specific Being or Object’s experiences, thoughts, emotions, and existence during a given event or series of events.
Acting is used in a number of ways, today:
ACTING AS A WAY TO AVOID TROUBLE, HOMEWORK, AND THE POLICE:
I’m sure you already have a good grasp on this usage of acting. Every seven year old who insisted with perfectly straight face that Spot ate their homework, gets this. Let’s move on.
ACTING IS A CRAFT:
One dictionary defines a craft as: an occupation or avocation requiring special skills, especially manual ones, including carpentry, sewing, pottery, etc.
Acting can be and often is an occupation, as we will discuss. Needless to say, many people make a living as actors. It can be an avocation, a hobby done for fun. It requires very specialized skills, something discussed throughout this book. Many of the skills are manual, involving control over the body and it’s functions in order to create an effect. The actor uses his body and voice to carefully etch the illusion of a character. Acting can be defined as a craft, accordingly, and in it’s “starter”, more rudimentary phases, when an actor is developing skills, that is exactly what an actor is, a developing craftsman.
ACTING IS ART:
All art, any art form, has principally to do with communication. Artists are professional “communicators”. An artist is a specialist who selects what he wishes to communicate, and in what manner or method, using what media and tools.
An artist is one who has mastered to some extent the tools of a craft, and transcended that craft. His works communicate. His works are received and understood. His works also move an audience to feel emotion. Often, art leads its audience to think new or better thoughts, or to spiritual heights. Great art does all of this, and more, and it does it every day.
To be an artist, one must have truly mastered many of the tools of that art form, and its techniques. To become a great artist, one must have accomplished this to a very high degree, and be gifted with a real vision of what one wishes to communicate. One must then be able to communicate that vision to the audience compellingly and consistently, using the art form selected. We’ll discuss what makes a great artist at great length, later in this book.
A person who understands and can use the tools of acting to create emotionally compelling performances is an actor, and is using the skills of acting to create art.
ACTING IS AN AVOCATION (A HOBBY):
Acting is fun. Many people try acting out while still in school, and continue performing in local amateur and semi-professional situations while pursuing a livelihood in other fields. Some very expert actors can be found performing regularly in community and local theatres all over the world. This book is no less for the “amateur” actor than the award-winning Broadway regular. Good acting is good acting, wherever it is found.
ACTING IS A PROFESSION:
Actors pour into Los Angeles, New York, and London from all over the English-speaking world, in order to pursue a career in acting. These cities are where “the INDUSTRY”, or “the BUSINESS” of acting is focused. Los Angeles is where one generally comes to break into film, and TV. London and New York have thriving film and television industries as well, but are renowned for their professional theatre.
A professional actor is an actor who MAKES THEIR LIVING BY ACTING. An actor can make a living doing TV, film, theatre, radio, commercials, print work (print advertisements), voice over work (i.e., doing cartoon voices, radio work, etc.), and in new ways being invented as we speak, as the media used to communicate performances varies and expands. Regardless, a pro is paid to act. Don’t mistake it, just being paid does not make one a great, or even necessarily a good actor. But being paid does make one a professional.
_____________________
EXERCISE:
Which manifestations of acting are you interested in? Acting as Craft? Art? Hobby? Profession. All of the above? Some of the above? Decide which ones you are interested in and why.
_____________________
If one is in a UNION, one of the organizations established to represent actors and their rights, one is generally considered a professional, as well. These include (in the United States) the SCREEN ACTOR’S GUILD (SAG), for most film and television, The American Federation of Television and Radio Artists (AFTRA), who represent daytime Soap Opera, radio talent, some commercials and other areas, and ACTOR’S EQUITY ASSOCIATION (AEA), for professional performers in the theatre. However, many actors today get work outside of these union’s jurisdiction, in non-union jobs, and are paid for that work, sometimes in rates as high as Union jobs. More on unions later.
WHAT ACTING IS NOT:
It is as just as important to understand what acting is not, or what it should not be. Acting is NOT “therapy”. It is not a way to work out your personal problems. In fact, and this may deeply offend a few readers, acting is not about the actor and his needs. It’s not about you. It’s not about the “rush” you feel when the curtain goes up, though this is a perfectly fine thing. It’s not even about the satisfaction the actor experiences when the audience gives a standing ovation at the end of the performance, though that is a wonderful thing, as well. It’s not even about the awards you may win someday.
Acting is about the character you play, and the communication of that character, in full, sent by you and received by the audience. The audience (or producer, however you want to look at it) foot the bill. They pay so that the production exists and so that you are paid. Your job is to entertain THEM, not yourself. You’re paid to communicate your character and the entire piece that the character appears in, to the best of your ability, so that the audience may be moved in various ways and feel that their time and money were well spent. If you want to observe and admire a performance, buy a ticket and sit with the audience. An actor is NOT a part of the audience. He is, however, a large part of the reason the audience gathers. An actor is NOT the critic, sent by the local newspaper to write nasty or pointless things about the actor’s performance. The actor is the performer the critic is watching tonight. It is not the actor’s job to critique his own performance. It isn’t even the actor’s job to worry over what the critic will write and say about the actor! It is the actor’s job to deliver a performance, first and last.
An Actor is also NOT the writer. It is not his job to rewrite dialogue, story, or anything else, especially in the theatre. There has grown over the years a sad and unfortunate tendency in TV and film for performers to believe they somehow know more about writing than professional writers. They don’t, and a result of this trend is a steady decline in the quality of works presented cinematically and on television. When a writer sells a work in TV/film, the work is called a “property”. And just like a piece of property, say a desk, once sold, the buyer may do anything he wants to it, including sawing off the legs and turning it into a snow sled. This is, fortunately, not generally the case in theatre, where the writer’s work cannot be altered except by the writer. It is of course true that there are actors who are also fine writers. But one should always be aware of which hat one is wearing at any given time. If you’re being the “actor” today, be the actor. When you’re the writer, then be the writer.
A writer selects his words very carefully, if he’s a decent writer. The words are not arbitrary. They are selected to create a desired effect. It is a part of the actor’s job to DELIVER THE WORDS SELECTED BY THE WRITER in as compelling a manner as possible. It is not his job to rewrite those words.
In much the same manner, the actor is NOT the director, set designer, choreographer, musical director, costume designer, light designer, stagehand, grip, best boy, producer, or anything other than an actor! Just as you, the actor, wish to have control over your own responsibilities as an actor, these other specialists will insist on control over theirs. It’s one thing to make the occasional suggestion (when asked for, or when the creative situation truly allows for a non-critical discussion). All too often, the actor thinks he “knows best” what the costumes or sets or direction should be. These things may be discussed if such a discussion is allowed or invited, but the specialist in that area should always make decisions for his own area.
Taking this further, actors are NOT acting teachers, not while they’re acting in a piece, even if they may be acting teachers outside the production. It is NEVER your job as an actor to critique a fellow actor’s performance or work, not even to improve your own performance, and especially when you haven’t been asked. Even when asked for your help or opinion, you’re courting hatred and disgust from your fellow actors if you offer any critique of their work. Think what you want about other actors. That’s your right. But keep your thoughts to yourself.
In short, an actor is NOT a member of the audience, is NOT a critic, NOT a writer, director, designer, choreographer, acting teacher, or anything other than an actor, not while he or she is acting! He may be any or all of these things, at other times. But while acting, he’s an actor whose job it is to create thoroughly a role, making it interesting and compelling, and then communicating it (as a part of a larger presentation, usually) in a way that an audience may understand and be moved by the creation.
(End of excerpt from the book, The Ethical Art Technique)
________
Well, that's where I'd like to start. Let's agree on why you are an actor, and what we're trying to accomplish. I'm FINE if a part of your goal is to make money as an actor, even a lot of money. Why not! Money in this civilization is an indication of acceptance and what the world thinks of one's value. It's a good thing when artists are highly value. Art is a very important product of civilization, and good (or great) artists should be honored and compensated well. But money cannot be the only reason one acts, or I can almost assure you that you'll fail. You had best be doing this because you LOVE LOVE LOVE to act, because it's a tough profession in many ways. And it would be better still if you plan to use your art to make the world a little bit better of a place to live. Things are getting pretty ugly out there, the world can use all the life-affirming art it can get.
Now, here's a link you may enjoy! It's on Daily Actor, and it shows a great interview with Denzel Washington and Viola Davis about acting in film and on stage. It was brought to my attention by a student, Devin Rice, who is very intense about his own career. Take a look, they know what they're talking about and there's something to learn when actor's with that kind of experience open up. (I've never tried to insert a link into a blog. If it does not show up, I'll find a way to share it with you tomorrow.)
Another post tomorrow!
Steven Horwich
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