Learning the Principles of Acting
| Tiny Ron the ABWAG-Man has come to your rescue with a web site that is like an acting manual using a database structure to communicate the feel, think, do technique, along with a resource of plenty of useful tips, helpful definitions and related terms of acting. It's all free to study and no sign-in is required. tron7ft@abwag.com |
|
|||||||||||||||||
|
|||||||||||||||||
Everything you need to know about Acting Without Agony: An Alternative to the Method is here.
There is no reason for not having a scene class for actors and directors to get together to practice the principles of acting.
Work on the acting craft in an acting workshop, just know the lines and do the scene. It is really that simple.
Young actors act carefully, they have to learn to make mistakes.
|
|
||||
|
First beginner actors use tricks with their face to substitute for feelings. Can't act with face.
The principles of acting come from all the things you do in life. We are talking about a piece of art, not a picture. Films are about body language, conflict and moment to moment. Everything comes from your imagination. Don't do things that physically can hurt you. Actors are trained in the world of illusion.
ABWAG to learn acting is a place to learn acting with no pain to you mentally or physically. Dress yourself in your imagination. An actor must be trained in the skill of acting. It is a craft with a toolkit full of tools. The individual tools are acquired through the learning of the art.
The modern way to act is to learn all of the principles of acting, then forget that you know them. The fundamentals of acting is to not flounder around, but look at the resources of principles. Principles never change. It's not, "I have a great idea". Staging from principles.
|
|||||||||||||||||||
To act we are talking about skills, you just don't throw yourself into it. When you are very good in a scene and you come off and you're not sure exactly where you were, that is when you are good. When you come off and say, "oh, was I terrible," you weren't in the scene. If you come off and you say, "boy, was I great," you weren't in the scene. If you can step off into space and not know where you are for a moment and trust your talent to take over and everything you have learned to date and allow that to propel you, then you come off in doubt, you come off like, "where was I?" That is when you are very good in the scene. That is what really acting has to feel like. It is like taking a trip. It is being somewhere else and being someone else. As long as you stay you, it is never going to happen. That is the trick you try to achieve. Talent will take care of you, don't just perfect skills. Act down to your finger tips. The secret: Give up the controls, hardest thing to learn in acting. In acting in the movies a lot of big star actors are always there, they are a pain in the side. They are all over the place. But rich good acting, that is not what happens. The actor disappears, and that is what the actor should do, you work up closely to your character and then you step back, step back, step back and leave the character alone. You give the character your mind, your body and you buzz off. All you do is collect the check. Storytelling and reveal character, that is what it is all about. We are storytellers. I'm not talking about logic, I am talking about the skill of telling a story. We all try to act with our intellect, you can't do it, acting is an emotional experience. It's only a partial mental experience. Don't look for psychological conclusion as an actor. A good actor knows when to do it, how to do it and make the right choices. Use all the resources you've learned from life and then you say, this can work in terms of the audience. You have to be theatrical. It won't work if you don't have no smarts. Consider the material in depth. What is the reading in it that will interest an audience. That is what they are looking for when they hire you. There is rarely anyone to help you out there. You have to know what to do to help yourself. Actor in this industry has to be ruthless, selfish, aware of everything that is going on. Actor has to be self-resilient, self-reliant and self-sufficient. Work-up a standard of excellence. Train your own instincts. The acting experience is what it feels like to act in the imaginary world. Acting is self-illusion, not just costume, has to come from inside. Naturalism is dull, you have to give the audience a circus. Every moment should be full. Take an emotion and make it big without strain. First, get yourself into that emotional state where you have to get your body feeling the peak of exercise: you are out of breathe, the adrenalin is going through you and your heart is beating. Then the director yells action and don't recover. When you do things like feeling emotion and thinking objective you don't even have to think about doing it. It all becomes subliminal in your acting. Don't be conscious of all the principles of acting once you learn them. Trust your body, your body can do many things for you. Your body remembers. To make acting look real through the quality of the accidental. Top ten items in acting a scene.
Use the principles you learned to work with, those are the tools. Most people learn them, but don't apply them. When it is working for you, don't do anything, don't make it better. The hardest thing for an artist is when to know when to stop, when is it enough. Don't guck it up. Don't start acting, once you remind audience you're an actor it's over. Cannot take every big moment and turn it into radio, vocalize or make it loudly. The problem is to deal with big moments, they don't have to be loud. ABWAG is an alternative to method acting.
Joy of doing the work is ART, not from torment, forget armchair psychology used by many actors and directors. To the actor a director says, 'I want this result, do it however you do it', is a better way instead of all that psycho therapy stuff in Method acting. Method acting is too cumbersome. Something methody: people will tell you they do not teach method acting, but be careful there are many different branches of method acting out there. No interest in neurasthenic acting. People who make so big a fuss about acting, should not be acting.
Purpose of film today: play each moment fully. Don't over simplify in just dealing with plot. Actors must know what story they are telling to be able to use all their resources. Love the craft and principles, not the image. Don't act careful, but act like children and game play. The character isn't simply an extension of yourself. Audience should never know actor is scared. An actor must: 1. light up the screen, 2. have a buzz in themselves, 3. be on, 4. use energy for entertainment, 5. look into special interesting things of the character, 6. love them self; I'm great and I'm amazing, 7. leave their talent alone and 8. learn instant acting. Be aware of what is going on in the inside and the outside of the character. Acting on the stage and for the camera are the same, the difference is proportions. Each actor has to develop their own study habits.
When you do a drama look for the things that are ingratiating, look for the fun in it, and most of all look for the humanity in it. Humanity is the secret in all acting. Read books on anthropology.
Art is a suggestion, art isn't thrown at you.
Actor must know about humanity to make the character real. Humanity is the whole principle of theatre. What makes an important actor? Find what other people don't. Actor has to have a profound understanding of humans. In acting don't do the opposite to humanity. How to plan the scene from a showmanship point of view? How to make a scene special, how to illuminate it? As an actor be a chef, be decorative. Acting a scene is like a chef planning a meal. He doesn't serve you the same thing. If you start with a asparagus, is the main course asparagus, does he give you asparagus fruit, and does he end up with asparagus cake. Learn to act and how to sell it to generate money. If you can generate money, they will pay you money.
Acting is being other people. It has nothing to do with you -- the actor is not the character.
Actor can't pretend things, it has to be emotional experience. How to find emotions? We know what words mean: anger, envy, horror, anxiety, joy, etc. The emotion like "anger" is all the times you had this emotion in life, not just one instance in your life. Here is THE EXERCISE to learn how to make the emotion big enough to act with. Acting is having the emotion that best fits the scene. An actor can not try to play effects of scene. If actor works without emotion, it will look like acting. An actor can't lie or do it without passion. It is about true feelings and true objectives: do not to be artificial, but be real. An emotion isn't a constant, an emotion goes up and down, it goes all different ways. The whole idea is to see how much emotion and inner life actors can give their characters. The actors must give themselves over to the moment, they must soak themselves to be real. Approach your work with body relaxed so the emotion can take over. Use all your resources, not just emotion. Avoid compassion or pity as your character's emotion." Definition of an objective: Objective is in character's words. Objective should be simple, active phrase, starting with the word "to". The objective is the conscious intent of the character. Objective must always be in the language of the character, limited to his own background and education. There's no one correct answer when you're looking for the objective of the character. Pick the one that seems best for the character and one that 'turns you on' as the actor. Objectives must always be difficult to attain. Difficulty is the fuel that lights our acting fires. Actor must think of character's objective over and over to be oblivious of everybody; crew, director, etc. When you act you should concentrate on your character's objective and nothing else. Your discipline has to be complete, that is how you stay in character. The discipline in your mind is not to think, how am I doing? Because you'll forget. Instead, it is to concentrate on the character's objective. Thinking just that is: controlled obsession. Objective is not just what you think, but what you do. Think objective - the body knows what to do! People tell you to focus, but never tell you what to focus on. Focus on your objective. Don't act without an emotion, more important than words, even the objective. Learning how to listen in a scene: you can't make your mind a blank, keep thinking objective and stay with the emotion, you'll hear the way we do in life. Really see and hear other actor, you will react.
Fill the silences is actor's job. One of the cardinal rules is... stay with one emotion and one objective until something occurs to change it. (You don't drift off because of the dialogue.) You only change because of new information or a new event. Have an attitude for the character, then you would have their personality. Attitude without an emotion will never work, you must vibrate inside. Also, find another attitude for character from new information. Acting attitude can control audience. You are the performer, a lecturer, you have to control the audience. Characters don't go around showing what's really inside of them, they wear a mask for protection. When re-doing a scene, don't repeat what you just did, but go back to cause of it (the emotion and the objective,) then hoping your talent will even make it better.
Never do anything without a plan. Not reality, but creditability. Principle is "that its got to be completely creditable" otherwise it can't work, it's not possible. What is the story? A scene is not a duplication of life, if it does you have monotony, but a reflection of life. Audience says, 'yes, I know I felt that way.' ..... Hot Tips ..... Know the perimeter of what you can do, so you aren't miscast. Perimeters of what you are right for, what you suggest to the audience, otherwise, it's work, work and it still doesn't work. Actors never ask themselves, "what would I do," but need only to think "who am I", who the character thinks he/she is. Acting is being other people, the actor doesn't come into it. Performance is like a strip tease. The whole thing is foreplay, just maybe, not yes. If the behavior is correct, even a deaf audience will understand it. Your talent will work, how advanced you are will show. Just the most important note: Learn how to juggle only three things when acting: An actor can only control their conscience for acting purposes, they can not control their sub-conscience. What the sub-conscience does is it does things to the actor. This is make believe (you're the cop, I'm the robber), just walk into it. You are just in this dream. There is no you the actor. In acting get yourself where you don't know what is coming next.
Don't get ready to do anything, your body will do it. Trust your talent, don't instruct yourself. If you teach the body how to act, it will act. Character out of control, but actor has to be in control. Knowledge when to do nothing is a powerful weapon. An actor's mind and body rebel, they refuse to leave reality for illusion.
Purpose of film today: play each moment fully. Don't over simplify in just dealing with plot. Don't make bad choices. If the choices are wrong, scene won't work. In making choices, it is where you are in the story and how much the audience should know. Recognize traps of scenes when they are there, so you know how to avoid them. Acting is the only art you cannot be caught doing. No awareness of self is good acting. If actors go back in their past, they are aware of self. Total abandon must come from an actor while his/her instrument (body) is vibrating with feeling. Understanding Discipline of Acting - Actor must give up self-thoughts. Audience doesn't care about the actor's problems, only the character. An actor must turn their body over to the character, if they can't do that, they can't act. When you act you have to act not just with your will, not just with your thoughts and feelings, you have to act with your whole body. Condition reflex = Teach your body Act with your whole body, the feelings are going, and use your voice without burying dialogue trying to be natural. Use color and don't mumble. An actor must have a good vocal instrument, but not fall in love with it. The more inventive you are, the better actor you are. Overall effect in movies is seeing. We are a watching creature. Behavior tells the story. The dialogue is the ornament on the garment of the actor.
Click Here for NEWSFLASH about acting Secrets of drama: what is recognizable to audience. Who is doing what to whom? That is the rubber band stretched | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Custom Search for related subject acting links.
Find yourself in the skin or world of your character.
