[Wednesday, Aug. 13, 2003 @ 1:18 p.m.]
[ "Acting Isn't"-Sydney Langosch ]

Part 2 of the last entry

  1. Acting isn't building a character on stereotypes or faked mannerisms. It is never wise to base a role on the manner in which a famous star might play the part. Even if some well-meaning friend suggests the role in terms of another actor's portrayal, try to ignore their suggestions. Even when recalling reactions and patterns of movement from real life, there are many stereotype movements and expressions. Because they are drawn from real life does not justify using such stereotypes unless for a specific purpose.
  2. Acting isn't a credible execution of physical acts and a parroting of the lines in the script. When you are creating a role, you must have a sound reason or motivation behind your performance. Sometimes a director will help with the motivation. Sometimes the actor will be given what appears to be a purposeless piece of action or business. It is then the job of the actor to find some motivation for the direction, even if he is not given this.
  3. Acting isn't coming to a rehearsal only to decide that the director doesn't need you, so you think you might as well return home. Even if the director does not use you on a particular call for your scenes, it is advisable to watch other scenes in rehearsal so that you may add to your knowledge of the total play. While watching a certain scene, you may suddenly realize why your character has a certain attitude towards that same character in another scene. Also, rehearsal time is often interrupted by a technical problem. These interruptions cannot be avoided. However, the actor may further familiarize himself with the total production if he listens to the directors discussion instead of getting angry because rehearsals are temporarily halted.
  4. Acting isn't forgetting the audience. While an actor certainly cannot become preoccupied with the audience, there is always a thread of communication, a kind of spirit behind his performance which includes the audience, not exclude or "puts down" the audience. Actors who have private jokes with each other may not know it, but they communicate this feeling to the audience, making them feel uncomfortable, eventhough they do not identify the source of their feelings.
  5. Acting isn't a chance to show off for friends and family. Acting takes every ounce of concentration you can muster and is not a matter of directing attention to yourself as an actor. "Look Ma, no hands" so bores the audience who came to enjoy an ensemble effort, not applaud tricks and facility of technique.
  6. Acting isn't tearing down the production, the director, the crews or the other actors either before, during or after the production. After working several weeks with a great variety of people, you may have some very negative feelings about certain aspects of the production. Keep them to yourself. You may also discover that some friends or members of your family did not enjoy the production as much as you hoped they would. Listen carefully to their criticisms, but don't let them discourage you. If you did your job as well as you knew how, you can be pleased that you had an opportunity to be in the play, even if it did not come up to your expectations or the expectations of the audience.
  7. Acting isn't giving direction to other actors. It is never the place of the actor to tell another actor how he should play a role. If something is bothering you about a scene, bring it up before the director at the time you are rehearsing. Sometimes very worthwhile ideas come from this type of discussion.
  8. Acting isn't keeping yourself from looking bad at the expense of others. If there is a slip, or if another actor forgets his cue, you should try to pick up the scene if you can. The entire performance is based on the premise of the group effort. A performer must "keep the ball rolling" even at the risk of making himself look bad for the moment.
  9. Acting isn't nagging the back stage workers or giving any of the technical crew a hard time. An actor should do everything he can to keep the play running smoothly. If he is backstage waiting for a cue, he should stay well out of the main path of operations until he is ready to enter.
  10. Acting is not a competition. From the moment you receive a copy of the script to the final performance, the "play's the thing." The individual actor is subordinate to the total production: it is the total effort which the audience views, not one person's performance, or one lighting cue, or one beautifully constructed set. When this feeling of complete cooperation and group effort is achieved, the performance is stronger than any one person in it, and it is the whole, not any of its parts, which receives the applause.
It's always good to revise what I think I know, and realize that I'll never stop learning.

While Soaking in Lavendar... - Saturday, Apr. 06, 2019

He Reminded Me of An Incident Years Ago - Monday, Feb. 04, 2019

My Rose-Coloured Glasses are Smashed & I Don’t Want Them Anymore - Sunday, Feb. 03, 2019

It’s Been Awhile - Saturday, Feb. 02, 2019

I Never Needed You. - Thursday, Nov. 27, 2014

[newest] [older entries][profile][design] [diaryland]