Tiny Ron Taylor
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. Acting
Audiences imagine more in their head than you can ever act
out. Audience will do it for you, their imagination is
Tiny Ron (Taylor) you have the absolute best online acting website
(ABWAG) on the internet.!!!!!!! I stayed on for hours. Your site is more
informative than most of the seminars and workshops I have attended. Well written, simply stated...examples.....JUST AWESOME!!! Ruthann
BREAKING THE BARRIER OF
The acting experience is what we are trying to
accomplish, what it feels like to act. We are trying
to BREAK THE BARRIER that is made up of the
actor being clever and
thinking it through as they act.
This all leads up to looking like acting, it has no
resemblance to life. Tiny Ron Taylor
The more inventive
you are, the better
actor you are.
Don't love your
In order to control an audience you must
first learn to master yourself.
talent, see what it can do!
To act we are talking about
skills, you just don't throw yourself into
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
Talent will take care of you,
don't just perfect
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
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. Actorin 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
First, get yourself into that
emotional state where you have to get your body feeling
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
When you do things like
feeling emotion and
thinking objective you don't even have to think about
doing it. It all becomes
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.
Don't get ready for the
In life, we have no idea what's going to happen in the next
Audience goes 'aw'...
The Moment Between the Trapezes
that's what makes your acting
Learn the scene, then you don't know what is going to
happen, the lines and
staging are almost like amnesia. You are in a
disconnected from what is rehearsed. There is a sense of urgency between
the two trapezes. There is no recall, everything is unknown after rehearsal.
To make acting look
real through the quality of the accidental.
Acting natural won't get you anywhere.
You have to be above the mob. You have to have fire
in the belly. If you carry dullness, you're doomed.
Stand up there and vibrate. Forget
reality and just look for the
Work mainly with an
emotion, because without
acting is worth s**t.
Character can be out of control, but you the
actor must always be in control, keep your
skills. You must have great feeling, but stay in control of your
instrument (your body, an actor has to learn to play the violin,
figuratively.) It's all about
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
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.
is learning the feel, think, do
technique for the purpose of acting and then practice, practice, practice...
until you don't have to think about it, anymore.
has taken a
few principles of acting from 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
In comedy, do start with everything real, instead of starting
with everything funny.
Play comedy. Your character must
suffer. Comedy is someone else's
tragedy. All of it is the sad story of life. It's the way life
goes, it's sad, it's unfair, it's terrible, it's
suffering and it's tragic. There is no good comedy without
The more you are in trouble the funnier it is, that is the
secret of comedy.
In comedy:contest of wills.Laurel and Hardy are goofy, but based in
You need separate individuals, someone has to be the straight man (Hardy),
a person who the audience recognizes with. Then the
other is the clown (Laurel.) Driving force gets
it done; one has to be driving force (Hardy), the
other guy leads into difficulty (Laurel.) The
straight man can reverse anytime (Laurel) and
then be the clown (Hardy.) Must have an under
lying basic joke: blind leading the blind.
Audience is laughing at themselves.
If you can't tell story in
behavior, it won't work with words
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
act and how to sell it to generate money. If you can
generate money, they will pay you money.
impressionist is Van Gogh, he never painted carefully.
The passion is
In your art take big broad brush
Good painter attacks
Principles of painting also go for acting, use a big brush
and let it dribble.
life we struggle to overcome
emotions. The job of the actor is to be
swimming in them.
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,
The emotion like "anger" is all the
times you had this emotion in
life, not just one instance in your life.
THE EXERCISE to learn how to make
the emotion big enough to act with.
is having the
that best fits the scene. An actor can
not try to play effects of scene. If
actor works without
it will look like acting. An actor can't lie or do it without passion.
It is about true
do not to be
artificial, but be
emotion isn't a constant,
an emotion goes up and down,
it goes all different ways.
whole idea is to see how much
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
Avoid compassion or pity as your character's
is in character's words.
Objective should be simple, active
phrase, starting with the word "to".
The objective is the
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
as the actor.
is the conscious intent
of the character;
(he needs a woman to give him trouble).
must always be difficult to attain.
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
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
just that is: controlled obsession.
Objective is not
just what you think, but what you
objective - the body knows what to do!
People tell you to focus, but never tell you what to focus on. Focus on
Don't act without an
important than words, even the
Learning how to listen
in a scene: you can't make your mind a
blank, so you must 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.
only other acting book I recommend to read besides 'Acting Without
Agony: An Alternative to the Method' is Michael Caine's acting
book 'Acting in Film', which tells us "to occupy yourself while you
listen, think of what you would say, but don't say it". This is an
Michael Caine Acting
on Film Part 1 of 6
Fill the silences is actor's job.
One of the cardinal rules
stay with one emotion
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.
attitudefor 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.
attitude can control audience. You are
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.
re-doing a scene, don't repeat what you just did, but go back to
cause of it (the
then hoping your talent will even make it better.
For a scene to resemble
reality, it has to be conspired reality. A planned reality
is not organized, it has a ragged edge, it is not smooth.
That is the human dilemma. Do everything organized, but in life
nothing is organized.
Modern acting is talking with your body before you talk with voice.
Certainty is wrong. Do all your
planning, work it out, learn the words and then
step off into space.
When the characters have goals that are easy to attain or if they give
up trying, the audience loses interest in the character. The greater the
struggle; the more the excitement. The larger the risk; the greater the
Principle: Never allow it to be over,
until it's over.
Know everything for the first
time, as if there was no
Rehearsal can't be organized, it has to be
To appear spontaneous, you must
learn technique, technique, and then
technique to cover the technique.
You don't have to work at what you are. You are all
ready good at it.
The actor's brain is limited, their impulse
Stay with the truth of story.
The answer is you have
to make everything that happens meaningful; an attention
getter. You have to keep the audience awake. Your first job
is to keep them interested. You're not teaching them about
humanity, you're entertaining them. You must keep them
interested. So, if the director says to you, O.K., sit down over
there and you sit down over there and there is nothing going
on... make something go on that is important to the story and
the character. That is your creative job. That is what you
get hired for. If I'm a director and I hire De Niro, I know that
he isn't just going to bog down. He is going to do
something interesting. That is why he is worth all that
money. That is why they hire him, they don't like him. Nobody
likes anybody in this industry. They hire you because you are
necessary, because you do something that is interesting that
will sell tickets. Do you know why your basketball player makes
so much money? People pay a lot of money to see him. That is why
he makes more money than a brain surgeon. Brain surgeon only has
one client that needs him at a time. Right? But a
basketball player has a multitude that need him at a time,
that's why he makes more money. And the Stars that make more
money are the ones who can do something interesting. The way to
be interesting is to find out what is going on in the story, who
is your character, what does he want, what does he feel and
dramatize it. Don't just think about it, but do it. Your
objective is not just what you think, it's what you do.
And you have to do it physically. It is not just a question of
finding a place to settle yourself where you are the least
target. An actor doesn't sit down because a character sits down,
an actor sits down because he is half the target seated than he
is standing. You fight your heart out to get in front of the
camera, you want to be hidden when you get up there? It doesn't
make sense, it is illogical. Why be an ostrich?
Don Richardson's Acting
and Directing Workshop
This particular critique in Don's workshop was all technical
stuff with hardly any story suggestions, however, I do find
the principles used here interesting.
Officer and a Gentleman
Director, an actor and an actress.
Sept. 6, 1990
Scene: He is coming to propose to her.
to make everybody jealous
to save myself
to save my face
Leave something for
the audience's imagination.
Back of mind understand camera.
Story being told in images.
The unusual is what it's about,
not just beautiful.
Vanity not beauty.
Think camera. Think motion
Do a thing once, then progress.
All of it is revelation.
Think of your
Director thinks in results:
clinch mouth, etc.
Actor thinks in causes;
Have to be precise - director
says something, do it.
Physical requirements - changes.
Must make physical what's
important. Otherwise, audience won't know it.
Any change - be precise - always
be actor when listening to director.
Be aware of what is being seen.
Where is the camera, what is it doing.
Plan to be a big actor - be in
charge - what to wear, etc.
Give the audience time to focus,
do one painting at a time.
Good art achieves it overtime.
Many years to become an absolute.
Precision - comedians must learn
Good art is never muddled always
Study play, scenes,
and who am I?
Throw yourself into rehearsal.
Your talent will work. How
advanced you are, it will show.
The answer is the actor has to give ascene:
meaning, be specific and make a point.
Antidotes of life to apply to scenes.
Acting is being other people, not recital.
Don't act with intelligent, but
emotion.Audience is effected by
not intelligent. Audience is caught up in
not ideas. Bernard Shaw wrote ideas and it was dull, but he did add
political bites in it. Audience moved by the
dialogue is nothing, they are not moved by dialogue.
The incomplete gesture is today's acting, not the
Audience looking for the
bizarre. Beyond their own lives. Arrange and entertainment,
interesting and spectacular.
People feel at movies, they don't think.
Understand the audience out
there. Major part of actor's work. Don't think each person
individual. Audience is a herd reaction; unified, one unit, and
one group. They are a mass of people reacting. They want uniform
morality, such as... we are all against bad.
audience time for important
pauses, to let their imagination work, so they can
relate to their own experiences.
imagine more in their head than you can ever act out. Audience
will do it for you, their imagination is great.
go to the theatre to live other life's.
Audience wants to see suffering. "Yes, I have been there". A
world for audience to come into.