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acting

      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.

      No awareness of self is good acting. If you go back in your past, you are aware of self. Total abandon from actor. Instrument vibrating with feeling.

       Acting is the work of imagination.

      Accidental, wonderful things will come out of it.

 
1.      The Big Three: 1. Center of character
2. Secret self
3. Animal characterizations
  1. Acting hint::: If I do this action, is the next thing possible?

  2. Acting = emotional output.

  3. Acting in film is elongated, play all the values.

  4. Acting in front of camera: is the emotion large.

  5. Acting is 80% feeling and 20% all the rest.

  6. Acting is about super awareness.

  7. Acting is not about talking, it is about behaving.

  8. Acting is behavior, not just talk.

  9. Acting is being other people, not recital.

  10. Acting is being people.

  11. Acting has changed.

  12. Acting is done by feeling; subjective person.

  13. Acting is feeling, find what is dramatic. Audience watch, don't listen.

  14. Acting is imagining things and have them happen in your feelings.

  15. Acting is kind of self-hypnotism.

  16. Acting is a dream.

  17. Acting is like being in a dream. Don't put yourself in it.

  18. Acting is like one big broad brush stroke.

  19. Acting is not about talking, it is about behaving.

  20. Acting is not a religious cult.

  21. Acting is not just being there, acting is being vulnerable.

  22. Acting is one art you can not be caught doing.

  23. Acting is reacting.

  24. Acting is self-illusion, not just costume, has to come from inside.

  25. Acting is the work of the imagination.

  26. Acting must be stylish.

  27. Acting on the stage and for the camera are the same, the difference is proportions.

  28. Acting privately. Tune-in on each other.

  29. Acting secret: (What is she going to do?) be the dark mystery, don't show the answer.

  30. Acting without words, loaded with behavior.

  31. Active in the emotions of the character.

  32. Adjustment for the moment.

  33. Actor must get away from bag of tricks, find your own acting.

  34. Actors job is story telling. 

  35. Act with integrity.

  36. Act with your whole body.

  37. Act with your whole person.

  38. All about emotion.

  39. All crazy things will happen.

  40. All illusion.

  41. All acting is story telling. You must make your point.

  42. All good acting looks like it was never rehearsed at all.

  43. An actor playing stupid doesn't play stupid.

  44. Any line can be said a thousand ways.

  45. Approach your work with body relaxed so the emotion can take over.

  46. As actors, play any tune at any time.

  47. A stage entrance, come from a previous place.

  48. As an actor, don't justify things.

  49. As long as you're conscious of what is going on, you won't hit the mark.

  50. A thing should reveal itself slowly.

  51. Attitude can control audience. Your the performer a "lecturer", you have to control audience.

  52. Audience pays to see the inner.

  53. Avoid trying to show the audience what you want them to feel.

  54. Avoid the clich�s.

  55. Beware of what you do well. It is a great temptation.

  56. Be aware of what is going on in the inside and the outside of the character.

  57. Be a showman, not just an actor.

  58. Becoming other people.

  59. Behavior their talk. Do not think words.

  60. Behavior, know the pause.

  61. Being other people.

  62. Better to fail on the credibility.

  63. Bigger than life energy. Before you act: you can't enter this world with energy of real world.

  64. Brain work is nothing, emotion is 80% of acting.

  65. Bury all the work, cancel the work.

  66. Can not act without an emotion, more important than words, even the objective.

  67. Can't be a tragedy with a small voice, please don't mumble.

  68. Can't just be in your head, physicalize it.

  69. Can't sound like an actor who knows the words.

  70. Cinematographer makes pictures.

  71. Comes down to the human face, not just special effects.

  72. Connect with other actor, the stimulus.

  73. Convince yourself you are in a room with no audience.

  74. Conversation is behavior, do things that say things, it is body language. Add behavior, tells you more than dialogue.

  75. Defining acting: acting is not memorizing the text while wearing disguises or matter of pieces of business. It is to decide emotion and objective which is the cause of action and words. Don't get into tricks, it's superficial, so mannered and phony.

  76. (Dialogue doesn't fit behavior).

  77. Do not fall in love with one thing, try many different ways as an actor.

  78. Do things on your line, so camera will stay on you and not cut to other actor.

  79. Instant action; not where actor needs a few minutes to prepare before "action" is called.

  80. Don't act all over the place, must affect audience.

  81. Don't add embellishment.

  82. Don't be an actor showing off...

  83. Don't be in a hurry to speak as an actor, movies aren't about talking, it's feeling and thought.

  84. Don't be natural, just be interesting. Attempt at normalcy even if people are saying crazy things.

  85. Don't be yourself with just emotion and objective, also who am I.

  86. Don't be a character in your head, it will never show.

  87. Don't do a emotional striptease.

  88. Don't do things to keep busy.

  89. Don't do the same things over from other parts, every project is new.

  90. Do not fall in love with one thing, try many different ways as an actor.

  91. Don't play the result, go at it indirectly.

  92. Don't have performance in mind, have character in mind. Don't fall in love with your performance.

  93. Don't hurry anything.

  94. Don't hurry on with next line.

  95. Don't just play dialogue.

  96. Don't listen to yourself.

  97. Don't lock onto other actor's eyeball.

  98. Don't loud and soft acting; audience gets use to anything.

  99. Don't make fun of character, characters take themselves serious.

  100. Don't make a heart breaking speech in a heartbreaking manner.

  101. Don't play at start the end of play.

  102. Don't play in one key.

  103. Don't play the result.

  104. Don't play the effect.

  105. Don't play the scene, audiences must believe their not actors.

  106. Don't prepare for anything when you're acting.

  107. Don't repeat a take; to go back to what you did before by doing what caused it.

  108. Don't rob it from the audience. Let as much control go as possible.

  109. Don't run dialogue together.

  110. Don't tell the story, the character doesn't know he is in a story.

  111. Don't think how it's going to sound, ever.

  112. Don't waste things together, one thing at a time.

  113. Do something the hardest way possible.

  114. Emote, not elocution.

  115. Enter a room, looking with beginning, middle and end.

  116. Every frame must be filled with content: all about feeling.

  117. Everything you do must be significant.

  118. Exercise: bring up emotion, then say something clearly.

  119. Explore scene.

  120. Eye light is focused on your eyes.

  121. Feelings large enough to destroy you.

  122. Feelings, not about being  busy.

  123. Fill the silences is actors job.

  124. Fill time with acting, not dialogue.

  125. Find conflict between characters.

  126. Find the essence of an actor, go by what the story requires.

  127. Find your way, forget your preparation.

  128. Get the emotion going.

  129. Get yourself where you don't know what is coming next.

  130. Give images that moves the audience.

  131. Go for quality for each take, more interesting each time.

  132. Good painter attacks his painting.

  133. Hardest thing to do is to relate to other people.

  134. Here is a trick to make women starry eyed; lovers in front of camera: woman look's at man's mouth while he talks. Just be glued to his mouth. Doesn't work for men.

  135. How to work in film. Place your voice so you don't become bombastic. Yelling doesn't work in film. Search for words. React before saying it. Watching people in behavior.

  136. Idea in theater, that it looks real.

  137. If it doesn't have anything to do with the story, don't do it.

  138. If I do this, is the next thing possible (acting hint).

  139. If it is not there, you cannot teach somebody to be an actor.

  140. If you don't got it, you don't got it for acting.

  141. If you're going to drink, always complete it.

  142. Image. How to do less.

  143. Imagining things and have them happen in your feelings.

  144. In acting, don't do the opposite to humanity.

  145. In modern acting, acting is for the camera 98% of the time.

  146. Is to finish things.

  147. It's all about the human face.

  148. Just happen when you say words.

  149. Just talk, don't emotionalize every sentence.

  150. Keen intelligent is an impediment to acting.

  151. Knowing what is right and wrong.

  152. Know what to do with a character even without lines.

  153. Knowledge when to do nothing is a powerful weapon.

  154. Laughing; don't strain.

  155. Learn all of acting, then forget that you know it.

  156. Learn how not to lose the audience if you're the protagonist.

  157. Learn to act without the dialogue.

  158. Leave talent alone.

  159. Less is more.

  160. Let go, don't act carefully.

  161. Lines are trivial.

  162. Listen as an actor.

  163. Love your art, don't fall in love with your performance.

  164. Make all lines full and meaningful throughout.

  165. Make audience believe it is real, even though it isn't real.

  166. Make it look real: quality of the accidental.

  167. Mental illness, change emotion where it is  planned.

  168. Modern acting is behavior.

  169. Modern acting you express with body first let that effect words.

  170. Modern acting: acting is for camera 98% of the time.

  171. Modern acting: action precedes dialogue.

  172. Modern acting: off the wall.

  173. Modern acting: ragged edge.

  174. Modern acting: talk with body before you talk with voice.

  175. Modern way to act.

  176. Most acting is for camera.

  177. Most people don't learn how to do it.

  178. Moving the audience, not moving the actor.

  179. Acting must resemble life.

  180. Never be an actor without alternatives.

  181. Never give all, hold back 10%.

  182. Never play a role in high wispy voice or child like for anything, only for dumb blonds on game shows.

  183. Never repeat, go back to emotion and objective.

  184. Never try to be funnier, never over act. Character is in trouble.

  185. Never, never put your hands in your pocket, until you have emotions, objectives down and your acting down. Then you can have the luxury of putting your hands into your pocket.

  186. Never yell in acting unless it is the only thing.

  187. No awareness of self, that is good acting. If you go back in your past, you are aware of self. Total abandon from actor. Instrument vibrating with feeling.

  188. No brains, emotion at work.

  189. No hand acting, audience will watch your hand.

  190. Nobody pays to see an actor comfortable. Actor has to suffer when they act. Even if actor is miserable it doesn't matter, as long as they are interesting.

  191. Acting is not about talking, it is about behaving.

  192. Not minimal feeling.

  193. Not reality, but creditability.

  194. On screen, the importance of eyes.

  195. One of the first things you must learn: getting into imaginary world. Second thing you must learn: how to talk to somebody. "The wire". The little electrodes.

  196. One simple jester is better than many.

  197. Only actors turn and talk to each other.

  198. Only behavior can be breath taking.

  199. Patience is a quality, not an emotion.

  200. People after catastrophe: actor is organized. A person at that moment is disorganized.

  201. People who are exploding try not to explode.

  202. Physical difficulties.

  203. Physical requirements: changes.

  204. Pick objectives you can do something about.

  205. Pictures have meaning.

  206. Play to make people aware.

  207. Reality is not the answer.

  208. Reality for get it.

  209. Really see and hear other actor, you will react.

  210. Remember, half of your performance comes from the other person.

  211. Rub your nose in it, do it wrong, teach the body.

  212. Satisfy the cinematography.

  213. Say everything you can physically.

  214. Seeing the characters.

  215. Sharing an illusion.

  216. Show the audience to see themselves.

  217. Simple, simple, simple.

  218. Sit on any line. Stand on any line.

  219. Something emotional.

  220. Speak quietly as long as it has resonance.

  221. Start with emotion, then objective.

  222. Start with: feel; emotion, think; objective, do; whatever you have to do.

  223. State of illusion.

  224. Story telling and reveal character: what it is all about?

  225. Stop acting dialogue.

  226. Talk to the brain. Brain to brain acting. Get this wire going between you and the other actor.

  227. Tell your body to do something, that's acting.

  228. It is about telling a story, not setting up a scene.

  229. The acting experience is not knowing how you acted.

  230. The actors with the theatrical knowledge.

  231. The biggest temptation is to do what you are best at in yelling, laughing, etc. These are actor's accomplishments, not the characters.

  232. 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".

  233. The hands; to express the soul before saying words.

  234. The incomplete gesture is today's acting, not the complete gesture.

  235. The unspoken things, even though nothing was spoken, the big screen will catch the look out of the corner of the eyes.

  236. The way to listen: don't make mind blank, repeat objective and stay with emotion.

  237. There is no routine.

  238. Things don't connect, should not be logical.

  239. Think simple.

  240. Throw your talent into it, explore it.

  241. Timing, timing.

  242. To act we are talking about skills, you just don't throw yourself into it.

  243. To imagine things happening in your feelings.

  244. To make acting look real through the quality of the accidental.

  245. To make it work: take life and make it bigger. Beyond performance size.

  246. Total image.

  247. Understanding discipline; give up self thoughts.

  248. Villains are full of gratitude. Playing a villain, look for the saint in him. Don't play obvious villain.

  249. Watch good acting; dramatic. Stand still, maintain emotion.

  250. We go to the theater to live other life's.

  251. We have to see body language, make everything physical.

  252. We like to watch people try and save themselves.

  253. We want to see people off guard not in control. People struggling against problems.

  254. What do I feel? Run the emotion once, body will take over. Then just think objective. It's not emotion, emotion, emotion...

  255. What is acting?

  256. What you act is getting over the difficulty.

  257. Whatever you are doing, do it, (looking out window, then look) don't indicate.

  258. 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.

  259. When you cry, really cry, cry out of real problem, don't clown crying.

  260. When one actor is "on" the other goes "dead" and when he is "on" the other goes "dead". Bad acting on both parts.

  261. When playing a mean guy look for the coward. When playing a wise man look for the fool.

  262. When studying the lines, how does this relate to the character.

  263. When you act find the moments.

  264. Without emotion, acting is worth shit.

  265. Wonder of acting: present human being to other human beings, audience gets glimpses of themselves.

  266. Words are important, must be perfectly clear.

  267. You can't play comedy unless you know drama.

  268. You have to explore every moment with all your energy. Play all the values. To turn on your lights also means to turn on all your awareness.

  269. You only recognize emotions from the face, voice, behavior, etc.

  270. You just don't think your objective, it's what you do.

  271. If the behavior is correct, even a deaf audience will understand it.

  1. You have to twinkle, shine, glow as an actor on today's sitcoms.

  2. Acting problem; stay in character during laughter.

  3. Do away with pauses.

  4. Greatest laughs, when there is no effort.

  5. We laugh at people in extreme difficulty, don't give yourself as actor any comfort.

"In the end, it can't look like acting."

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