So my director for the government inspector today totally reemed me. not in a mean way but he was very specific in telling me that I need to bring something more to the table by monday when we are suppose to be securly off book.
He feels like what he see's on stage is just nice me, but he needs to see my character who is basically a bitter... well u know lol.
The problem is I thought I was portraying that but I think that I portray probably what I'm like when I'm angry.
What are some good techniques to learn to remove myself from a role and start from scratch so that I can get the essence of it. I don't want to let him down.
I think part of the problem I have when I act is that I'm worried about not sounding natural, and on stage by trying to sound natural it comes across as flat. I just don't know a way around all the inhibitions I have.
I have this flaw in life where I always let something hold me back, even when I don't know what it is. that way when I don't do awesome or nail it or whatever it might be,(I'm this way for more then just acting), it's because I didn't fully try. as opposed to really giving myself to it, and having it potentially fail in which case It would mean I wasn't good enough or something..

quote:

Originally posted by Snuffleupagus:
He feels like what he see's on stage is just nice me, but he needs to see my character who is basically a bitter... well u know lol.
The problem is I thought I was portraying that but I think that I portray probably what I'm like when I'm angry.
What are some good techniques to learn to remove myself from a role and start from scratch so that I can get the essence of it.

The answer tends to be boringly repetitive: objective. Objective, objective, objective.

Stop thinking about what YOU look like, how you PORTRAY the character, YOUR issues, etc. Think about what the character is trying to accomplish in the scene, what their circumstances are, what their relationship is to the person they're talking to, etc.

When you're on stage, try to get what your character is trying to get. Period.

If your character is bitter, then don't play "bitter". Give them the kind of motivation a petty, resentful person might have: trying to humiliate the person they're talking to, trying to demonstrate their own inherent superiority, trying to pre-empt any attempt to criticize them, etc.

Did you ever have a teacher in high school (usually there's at least one) who acted more like they wanted to show how much smarter they were to their students than like they wanted to coax interest out of them? Think what a person like that was really trying to accomplish (as opposed to what they claimed) and have your character try to do something similar.

But any way you cut it, your concern should be having your character try to DO something, not seem or portray anything. And you shouldn't be thinking about yourself at all, except to the extent it helps you understand the person you're incarnating.

I second Jim's reply.

Yeah, great answer. I would also remind you to really listen to your scene partners and take in what they're giving you. How do their actions affect you and get in the way of your objective? How does that make you feel?

How did it go yesterday?

I completely agree with Jim. When practicing alone, before rehearsals, do something to take the character out of yourself. Rehearse your lines while doing an intense physical action.

One time, I was helping an actress with her audition piece. It was a serious, dramatic piece, where the character was extremely vulnerable. However, the actress kept "acting" sad/vulnerable, and it wasn't coming across as real. We were outside, near a river, so I asked her to pick up a handful of rocks, and do her audition piece while throwing rocks at the river, like the river was the other character.

In the middle of the monologue, the actress began bawling. After she finished the piece, I told her to take an emotional snapshot of what it all felt like.

You have it in you, but as Jim said, place your focus and intention on the other person. I wouldn't recommend throwing rocks at them, but find something with the same intensity that'll conjure up the reality of your character's journey.

I hope it all goes well for you.

quote:

Originally posted by Darbi, Everything Acting Podcast: I would also remind you to really listen to your scene partners

A very important note.

Three key words in acting: objective, relationship and listening. Think of what your character wants, understand what your relationship is to the person you're talking to, and really listen to them, and you'll have the guts of the scene.

All of this of course takes practice (and the kind of mind-freeing exercises Green Eggs and Hamlet suggests). I'm currently struggling with a Django Reinhardt solo to "Ain't Misbehavin'". I know what the notes are; I've even memorized the opening bars. But...

I've still got a long way to go. And the road in front of me is called.... practice.

In any craft, the mind only starts us down that road. Then we have to walk it.

I love the craft discussions.

It's funny how we have so many questions and concerns about the business, headshot and agents but the craft is what is most important, I think. I think all the rest of the things will arrange themselves when the work is excellent.


But to your point.

Practice is how you find out if your objective/intention is working. There can't be enough said about the rehearsal process.

There are times when a director requests something out of our comfort zone. It's no different that an accent or a hump on the back of Richard III. Our job is to create it a make it our own as we continue to listen, and play our objective. Oh yeah, it it should all appear moment to moment. LOL. I love what we do.

Anyway, an easy way to create some physical life different from your own, is to start out by becoming present in your body. Your body needs be alive, aware, alert and open to respond to your creative impulse. So warm up. Dancing is really easy. Salute to the sun. Get in the body. Now create a basic object exercise from the life of the person you in the scene.

IE. Alone, who you are in the scene gets dressed for a date. Something simple. Just live in the the person's reality. Hopefully your instrument will respond in ways that you can not imagine. Play with this in rehearsal.

You have to take a risk to expand who you are to create the person in the scene. Use yourself, but do not make every person you play you.

I hope that makes sense.

I enjoy thinking about this. thanks.