ACTING ARTICLES

I want to paint a picture with words to help describe the potential power of subtext. Picture a large irregularly shaped block of ice floating in the water: an iceberg. This block of ice can be very large but only a small section is visible to the eye. For a knowledgeable sailor what is seen is not the most important part of the iceberg. Only 1/8 of this ice block is visible; the rest is hidden from view. The 1/8 visible portion is, when viewed, apparently all there is. But what is not seen, the 7/8 section actually completes the iceberg. In acting terms, the 1/8, or what is apparent, is what the script’s character “seems” to be saying. But the 7/8, what is not seen, is what the character is actually thinking. I make this comparison of an iceberg to subtext because too many actors give lip service to subtext while ignoring its potential unseen power. Of course the words – the text of a script – are central to an actor’s performance. But its what an actor does behind these words that empowers them. Ernest Hemingway coined the “iceberg principle.”  He states: “If a writer of prose knows enough about what he is writing about, he may omit…

IN MY ACTING CLASS YOU WILL DEVELOP YOUR CRAFT BY WORKING ON:   Being Believable. I need to believe you/your character is actually going through the circumstances or event of the script. • Find and engage your emotions, thoughts and impulses. • Read the script/sides a number of times for ideas.   Being Present and “In The Moment.” It’s an effective way to capture attention. We can tell when you’re in the moment. • Don’t worry about your lines, or anything else. • Don’t try to be anyone but you. • React without thought or plan. • Get out of your head and into what’s happening right in front of you.   Being Still and Listening. Stillness is when you are not talking but revealing unexpressed feelings and thoughts. Listening and stillness reveal the inner truth about the character. You don’t need to think what the character is thinking, but you must be thinking.   Being Unpredictable. It’s captivating when a character/actor surprises us. • Allow any impulses or raw private emotions to enter your scene without trying to choose the   “right one.” • Don’t settle for comfortable choices. • Risk making a mistake. It could be a happy accident. If you’re afraid to try something, that’s a signal you…

Actors in acting classes can choose to be comfortable and conform to the expectations of the class or they can choose to challenge themselves and risk choices that are surprising, personal and revealing. Many actors usually follow the same uninspiring path of preparation. They make lackluster choices based on what the script or class dictates. For example, if the character is sad, the actor acts sad with nothing personal added. Acting choices must provoke you. In every scene and every audition you have to present a personal character story that challenges you. Risky choices include arbitrary choices. These are choices that are born out of instinct, impulse and urge. These are also personal choices. Strong personal character choices are fueled by what you really feel and think. Actors often ignore their own personal thoughts or feelings, thinking that they are too personal and inappropriate for a character, when in fact, being personal and open is essential. For example, instead of hiding the fact that you are going through some sadness in your life, include that sadness in the scene whether it’s a drama or comedy. You might discover by including your real sadness in a comedy scene it got even more laughs. Assigning an objective or a prior history to…

Stillness is a powerful ingredient in great acting. Stillness, a lack of action, is visual silence. Stillness and silence work together. They are often more affecting to an audience than actions and words. You may not realize the impact that being still and silent has on your performance. This may be because you are often still only after lines are lost, or after a mistake, not realizing the real effect creative stillness has on those watching. “Do not the most moving moments of our lives find us without words?” Marcel Marceau It is during stillness important elements braid themselves together. These important things in acting are the character’s real thoughts, ideas and feelings. In other words: the subtext. Stillness is a palpable moment; a compelling absence of talk or action that reveals intense unexpressed feelings. This palpable moment is a pause to process what just occurred, to decide the next action. A character that pauses to process what happened reveals intention and creates anticipation. Alfred Hitchcock said it’s not the bang that terrifies but the anticipation of it. This anticipation is effectively served up during periods of stillness and silence, which also highlight intention and true feelings about what has happened or is about to happen in the scene. As…

After a scene in an acting class the actors usually sit silently awaiting their critique. For instance, last week after their scene Tony and Bev said nothing, but their sour faces revealed how they felt about their scene. Then Bev said, “I worked on my character and it still fell flat.” Tony nodding added, “Yeah, I know what she means. It sucked. Not her, me.” My reply was: “You can waste thought and energy on self–indulgent criticism of what you did or you both can start faking the character to get to a truthful acting.” They were not faking the bewildered expression on their faces. To almost every actor being real is one of the major goals, if not the only goal. The intense quest for reality can be stressful. When reality doesn’t come easily, actors start to force, which pushes an actor away from any reality they already possess. Instead of force, allow some deception to open you up to all that you are capable of. This means, “Fake it till you find it.” Fake the character in order to wake up all your inactive feelings, emotions and ideas.  Faking a character is not the goal. The goal is to fire you up. Most people are familiar with the term “Fake it till you make it.”…