2. Moment by Moment Flashcards
How to helo the actor to be in the moment, how to deliver himself to his impulses. (162 cards)
1
Q
What do you get when you master MOMENT by MOMENT?
A
You will know how to STIMULATE actors and INSPIRE them. They will seem not to act, performances will be LIKE THE REAL THING.
2
Q
Define FEAR AND CONTROL in acting.
A
If the role is important to him, sometimes the actor is AFRAID his performance is NOT GOOD ENOUGH, so he starts to CONTROL HIS PERFORMANCE, CENTERING HIS ATTENTION ON HIMSELF. And paradoxically, his performance decreases in quality.
3
Q
How can you begin a collaborative work with the actor when you have the first meeting to discuss the script and the character?
A
To talk about how she works, what are her methods, her preferences and choices when interpreting characters.
4
Q
Why can an actor refuse to REVEAL his methods when you ask for them?
A
because he’s afraid he they will not work anymore because know the director knows, and he will be self-conscious. (So let him be)
5
Q
What does it mean to “play the result”?
A
To PRETEND to have feelings, reactions and attitudes (to show the audience those fake feelings, reactions and attitudes).
6
Q
What causes an Actor to PUSH or INDICATE (play a result)?
A
Self-consciousness (Auto-percepción)
7
Q
What can result direction cause?
A
It’s possible to make the actor feel Self-conscious
8
Q
What happens inside the actor when he is self-conscious?
A
He gets uncomfortable when he is being watched.
9
Q
What’s PUSH or INDICATE in an actor?
A
It’s when the actor demonstrates a false feeling, reaction or attitude (often called “false note”).
10
Q
What’s the antidote to an actor PUSHING or INDICATING (Playing a result)? (who can even be self-conscious)
A
To place his concentration somewhere else. It has to be something powerful enough to “grab him”, to be “gripped by”.
11
Q
What’s the mantra of a self-conscious actor?
A
“How am i doing?”, “ Am I saying this right?”, “Does the audience get it?”, “Does everybody like me?”
12
Q
What’s the mantra of an actor placing his concentration on the other actor?
A
“Is he angry with me?”, “Did I make him angry?”, “Can I make him cry”, “Did I get her to do what I wanted her to do?”
13
Q
What’s the most common symptom of an actor placing his attention on him self? (or worst, a self-conscious actor)
A
He asks or talks about his performance: “Is this the right amount of anger?”, “Did you like it like that?”, “Should I do it more like that? or should I tune it down a little bit?”
14
Q
What should the actor be talking about, instead of his performance?
A
His feelings. (emotion) The moment. (experience) The other actor (His current progress on getting what he wants from the other character.)
15
Q
What does the director has to understand about the vulnerability of the actor when she’s up there?
A
Acting can be frightening. It’s painful to hear criticism, and it’s easy to doubt oneself.
16
Q
What is exposed of the actor? (that makes him so vulnerable)
A
His face, body, voice, thoughts and feelings.
17
Q
What does the actor in his vulnerability expects from a director?
A
An existencial reassurance and validation. WHEN GOOD: Honest praise is necessary to him as water. WHEN BAD: Also necessary is forthright, accurate and constructive criticism.
18
Q
What happens when the actor suspects the director is NOT giving honest and competent feedback?
A
Trust is lost and he becomes cautious.
19
Q
What happens when actors act cautiously?
A
We get actorish performances. Fake emotions. Fake moments.
20
Q
Why does cautious acting give fake moments?
A
Because they stop taking RISKS.
21
Q
Why is RISK important to get real performances with the texture of real life? (-and edge)
A
RISK lets room to mistakes, serendipity, isiosyncrasy, surpruse, danger. (It makes drama mor moving. Comedy mor surprising. Adventure more thrilling. Mystery more suspenseful)
22
Q
What’s a good qulity of GREAT ACTORS who take RISKS?
A
They allow the world to watch their deepest, most private self, transformed by the created reality of the script.
23
Q
What’s the unfairness of taking risks?
A
If the actor takes a BIG RISK, and it doesn’t work, it looks much worse than cautious acting. And he is revealed. (That’s why it’s a risk)
24
Q
What’s the difference between actors who take risks and those who dont? (because they are affraid it wont work, and reveal themselves in vain)
A
The difference is: They trascend the story, they get to be remembered, they change lives, they inspire people, they win awards.
25
What's the secret enemy to an ACTOR'S CREATIVIY?
Success.
26
How can the secret enemy to an ACTOR'S CREATIVIY affect her?
She now has something to loose, and can easily fall into a protective, rather than a risk-taking stance.
27
What can cause an actor to resist a role?
1. Fear of hurting his self-image with the audience, or
| 2. Reluctance to find disagreeable behavior truthfully in himself. (Or plain squeamishness.)
28
What's the example of Shelley Winters resisting a role for "A PATCH OF BLUE"?
She had participated in civil rights marches and had to play a racist that included a line in which she calle Sidney Poitier a "nigger"
29
What is "SENTIMENTALIZING A CHARACTER"?
Inyecting an awareness of guilt in to the character's behavior.
30
What was the solution for Shelley Winters?
Director Guy Green, together with Poitier convinced her to take a bigger risk of facing and finding truthfully the behavior of a person WITHOUT SELF-AWARENESS and WITHOUT GUILT. --She won her second Oscar for that role.
31
What's the enemy of RISK?
The pressure to do it "right"
32
Where does the actor put her concentration when she is NOT TAKING RISKS? (HINT: career)
She puts her concentration in TRYING TO IMPRESS the director or producer, rather than taking CREATIVE CHOICES.
33
In contrast to the BAG OF TRICKS... when does the actor's best work happen?
when she's caught in unguarded moments of simplicity and truth, giving simple, genuine response to a question or remark or event. BE A LIVING PERSON.
34
What is what Glenn Close calls "Disturbing the molecules" in the air around her?
Turn off the Automatic Pilot. When they get below their social mask. When they become a LIVING PERSON instead of an actor faking a characterization.
35
How do you prepare disturb the molecules? (Or "rawing yourself up" as Sally Field calls it)
With a process of disobligating yourself to the social realm so you can enter the creative realm. And go through her emotional and imaginative storage banks to get connected to whatever is basic about life to you. (separate from telephone, facebook messages, etc.)
36
What's THE MOMENT OF TRUTH for a director to establish good actor-director relationship?
After a performance (usually an amazing) when the actor needs the director to acknowledge his psychic nakedness, when he is most unguarded and raw.
37
What happens when you give an insensitive response to the actor in THE MOMENT OF TRUTH?
You kill your chances for trust and collaboration.
38
What's the correct thing to say in THE MOMENT OF TRUTH?
No one can know in advanced. That's why you need good intuition. This is when the director too, takes a risk.
39
What's the popular belief about ACTING?
Acting is about pretending or faking
40
What should you as a director SEEK from an actor in a performance? (HINT: something to recognize)
You should seek for HONESTY.
41
Describe the Sandord Meisner's Excercise about listening.
He put a group of actors to listen to the enviroment for 1 min (traffic outside, people chatting in the next room, etc.). Then he asks, "Were you listening in character, or were you listening as yourself?".
42
What's the point of the Sandford Meisner's Excercise?
To prove that listening as yourself, with your own ears is a simple task, relaxing, centering. "Listening as the character" adds strain, and kills honesty.
43
From where does the ACTOR has to START to begin a characterization? (the character or himself?)
He has to start on himself. Hear with his own ears, see with his own eyes, touch with his own skin, feel with his own feelings.
44
What happens in the characterization after the actor has used his own ears, eyes, skin and feelings to enter the world of the character?
If he did his homework (study the script, character development) IMPULSES (even FEELINGS) and understandings will start to bubble up from inside him.
45
What is what is called "to BECOME THE CHARACTER"?
Is when the actor is inhabiting his "own skin", is "in the moment" but has brought choices and understandings to the role that create impulses that make the script be like a real event, something happening in real life.
46
What's the bigger risk for an ACTOR when doing a performance?
To do simple, honest acting.
47
Why is simple, honest acting the biggest risk?
Because it means he has to use himself, make his work personal, reveal himself in front of everybody.
48
What does "be more (angry, fun, sexy)" really means most of the time? (talking about honesty)
Means to be more simple, more honest. Find his deepest resources and get something from there. (And not put more "energy" or "emphasis" on it).
49
What does it mean "to act with CAPTIAL A"?
To "ACT THE RIGHT WAY". To indicate. To give actorish performance.
50
How can the director help the actor to "GO TO PLACES" he needs to go? (HINT: allow)
By giving direction in the form of permission.
51
Give examples of Direction in the form of permission.
INSTEAD OF: Stand there. SAY: You could stand there
52
What's the RISK but also the ADVANTAGE of giving direction in the form of PERMISSION?
You are not giving orders, you are givin suggestions. RISK: He could disagree. ADVANTAGE: You are stimulating him to be HONEST. WORK ORGANICALLY. (Letting him have other ideas, and letting him acces his DEEP RESOURCES)
53
What's the advantage of letting him give ideas?
You encourage TEAMWORK.
54
How do you STIMULATE the actor to be HONEST?
By giving direction in the form of PERMISSION.
55
Define: WORKING ORGANICALLY.
Letting her OPEN HER MIND to let DEEP RESOURCES and INVENTIONS to start coming to her (that she didn't even know).
56
What are the two ways that some actors take to FIND THE ORGANIC CENTER OF THE SCRIPT in script analysis.
1. Inside Out
| 2. Outside In
57
How does the actor find the CONNECTION to the script INSIDE OUT?
By connecting in a RELAXED WAY to whatever they get from the script, with HONESTY. They have to honestly find themselves inside the character.
58
How does the actor find CONNECTION with the script OUTSIDE IN?
They do SCRIPT INVESTIGATION via their intelligence and then find and fill their ORGANIC CENTER (Try to find what the script really means, and then after evaluating, they try different ideas until they find the ones that they feel the HONEST CONNECTION)
61
Define ORGANIC CENTER OF THE SCRIPT.
The HONEST CONNECTION between the actor and the script, its images, text, subtext, events, behaviors. (The honest truth of themselves in the characters, in other words: What they are going to reveal of themselves through the character)
62
Once you are willing to find an HONEST CONNECTION with the SCRIPT. Can you instantly connect with all the lines?
NO. Some lines are VERY HARD to connect to.
63
What did JUDITH WESTON did with an ACTOR who COULDN'T SAY - "I love you" with honesty?
1. She got him to be with her in private
2. She aske him to say what HE FELT for her (He respected her, and thought she was a good director)
3. She asked him to say what he felt, but saying the line "I love you".
64
What do you do with an ACTOR who is SHOWING OFF his BAG OF TRICKS?
Ask him to be honest. To connect with the moment. Stop thinking on his tricks and focus in the other actor or the situation. (Is better to aim for emotional honesty than emotional pyrotechnics).
65
Define - TO BE IN OUR HEADS.
When something painful or upsetting happens, we don't really feel it, or we don't let ourselves feel anything. We intellectualize feelings and sensations. We watch ourselves, calculating the effect of our behaviour in others to meet social expectations.
66
Define - TO BE IN THE MOMENT
Is to be free of social concerns of the consecuences of our acts. No obligations. No social "rules" to follow. Only impulses, only our deepest and most private truths.
67
What are the SIGNS of someone IN THE MOMENT? (ARC)
Alert. Relaxed. Confident.
68
Define - SIGNS
Something you can see from the actor. (Behavior, Body Language)
69
Define - SYMPTOM
What happens inside the actor. (Her own description of her own experience)
70
How can you tell if the actor is ALERT? (SIGNS)
Because she is responsive to 1) the physical world around her and 2) the behavior of the other actors. (If the other actor PUNISHES her, she behaves accordingly - She begs for mercy or She warns him)
71
How does an actor lives a state of being ALERT? (SYMPTOMS)
She is RESPONSIVE to
1) The physical world around her
2) The behavior of the other actors
3) Her impulses, feelings and/or imaginative choices
4) The words and subtext of the script.
72
Is the actor pretending to be someone else (character) when he is in the moment? Explain.
No. 1) He is available, there is "somebody home" when you look in his eyes. 2) He speaks with his "real voice", not an "actor voice". 3) He inhibits his own skin.
73
What makes the facial expresions seem alive in MOMENT BY MOMENT acting?
The total surrender to impulses and deepest and private truths, are responsible of the tiny flickers of expresions that make the actor's face seem alive in between the words.
74
Name recomended performances to chek out for examples of MOMENT BY MOMENT acting.
Nicholas Cage in LEAVING LAS VEGAS. Jessica Lange in BLUE SKY. Jean-Lois Tritingant in RED. John Travolta in PULP FICTION or GET SHORTY. Julia Roberts in PRETTY WOMAN. Tom Hanks in FOREST GUMP.
75
What is STAR QUALITY ACTING?
Is the highest quality acting ever, when the actor looks like she's the real character, the real deal, what gets them Oscar Nominations.
76
How do you accomplish STAR QUALITY ACTING?
By accomplishing true MOMENT BY MOMENT acting, when SCREEN PRESENCE is created.
77
What is SCREEN PRESENCE for an ACTOR?
Is the effect of having the AUDIENCE DRAWN to the performance, forgetting everything else... and getting them into the story, into the performance.
78
What happens when the actor DELIBERATELY TRIES for such FLICKERS OF EXRESSION to accomplish STAR QUALITY ACTING?
The performance looks fake. Actorish. (And generally, get the audience out of the story, they become aware of the movie, they are not living it)
79
Why does FAKING FLICKERS OF EXPRESSIONS get actors to become fake and actorish?
Because they are not being honest, they are faking it. Their concentration is on themselves, and not in the other actor. They are not in the moment.
80
MOMENT BY MOMENT - What's the quote from JOHN TRAVOLTA?
"It doesn't take much for a thought to be seen. I keep having to talk directors out of talking me into overacting. I say 'You won;t see it on the set. You'll see it in the editing room'. I have an ability to be it, and it will read".
81
MOMENT BY MOMENT - Quote from GEORGE STEVENS
"Film acting is 'talking soft and thinking loud".
82
What does it mean "You won't see it on the set. You will see it on the editing room"?
It means that he is LISTENING MORE, and not indicating or showing his thoughts. He ensures that his feelings, impulses and deep private resources will be honest and believable on screen.
83
Name the 5 things factors that have to do with "BEING IN THE MOMENT" for actors. (Brave Heart)
1. Freedom
2. Fearlesness
3. Trust
4. Not watch himself
5. Have preparation ahead of time, and let go his preparation once the camera starts to roll, and allow it to be there.
84
What happens when preparation is not there when the camera is about to roll? How can the actor be IN THE MOMENT?
That's the RISK, and thats where FEARLESNESS comes in handy, he goes in anyway... pays attention to he's sorroundings, and jumps into the abyss (a verb, image, fact, event) hoping to have honest impulses and deep private resourses flowing.
85
How did Tarantino encouraged JOHN TRAVOLTA to be IN THE MOMENT in PULP FICTION? (He let him know 3 things)
1) He sees him, the real him, his core being, and his shining talent.
2) He knows the difference between work that connects to that core, and work that doesn't.
3) His (Tarantino's) commitment is to that core.
86
What did TRAVOLTA said in an interview about TARANTINO.
"Quentin let me have it. He said 'What did you do? Don't you remember what Pauline Kael and Truffaut said about you? Don't you know what you MEAN to the american cinema? John, what did you do?' I was hurt - but moved. He was telling me I'd had a promise like no one else's. I was devastated. But I also thought, Jesus Christ, I must have been a fucking good actor!"
87
What did GEORGE CUKOR said to JACK LEMMON in an A&E channel when he asked him not to "act"?
Cukor kept exhorting, pleading with him to do less. "I can't do less, if I do less, I won't be doing anything at all!"- Said Jack. "That's what I want!" - replied Cukor
88
When is MOMENT-BY-MOMENT lost?
When the actor "puts anything on it". Faking emotion. When he plays attitude or emotion on top of the lines, rather than trusting the preparation and letting the lines come out from whatever impulse and feeling have been stirred up by the preparation.
89
What does HELEN MIRREN has to say about MOMENT BY MOMENT acting?
"The best actors are children and dogs because they're not acting at all".
90
What is UNCTION?
Is when oil is added on top of something and is not incorporated organically. -It means faking emotion, adding attitude to the lines. Being dishonest.
91
An actor IN THE MOMENT thinks real thought and has real feelings, but her own, not the character. Shouldn't she think or feel what the character is thinking or feeling?
No. I (Judith Weston) invite you to allow characters to have a subconscious - even to have free will. Actors cannot become another person, but they can find wonderfull and even scary things inside themselves, deep and private stuff, that they don't usually allow to flow when they are on their social lives.
92
Explain. "In conversations, what is said is only the tip of the iceberg".
It means that the words that people say are only ten porcent of what's really going on with them.
93
How can actors help their character to have subconscious decisions?
By allowing the character to BORROW their own subconscious.
94
What do they (actors) get when they borrow their subconscious to the character?
They bring life between the lines. They become a bridge between the words which are said and the words which are not said- THE SUBWORLD. SUBTEXT.
95
What does it mean to give characters FREE WILL?
Means that the character makes choices, makes mistakes, TAKES WINS and LOSSES right in the scene as we are watching.
96
What's the contrary of a character with free will?
Is an actor TELEGRAPHING or INDICATING emotions, wins and losses. He reacts even before the stimuli.
97
Character subcounsious. The actor already knows everything that the character is going to do, present, past and future. EXPLAIN. How is the character living the scene?
The characters says a line or makes a movement because she had an impulse or a need to do so, rather than because the actor learned a line and rehearsed some blocking.
98
How does the actor develops a character with free will? with subconscious?
BY GIVING HERSELF PERMISSION TO EXPOSE HONESTLY, to let her deep resources flow, to find honest connections between her and the script. Let out all the her impulses get out of her, good and bad, accepted by society or repressed by it.
99
What's the risk for a director to let actors take over a character and give them subconscious and free will?
They may sound or behave differently from what you had in mind.
100
What if the RESULT of having the character with free will and subconscious is different from what you had in mind?
Again. OPEN YOUR MIND. Let go that CHARACTER IN THE SKY.
101
When is the director not threatened when the actors breathe life into the characters? Under what circumstances?
When the director does his analysis homework deeply and properly.
102
How can directors guide the performance in another direction if they wish?
By doing deep and proper analysis homework.
103
What is considered a deep and proper analysis homework?
When the director has many options and ideas to try out, so at least one will stimulate the actor in the "right direction" (which is: TO BE HONEST, LET HIS RESOURCES FLOW)
104
Define IDIOSYNCRASY
A mode of behavior ow way of thought peculiar to an individual. Example: "One of his ideosyncrasies was to be in the car first"
105
Define - THE ZONE. IN THE MOMENT. SATE OF GRACE
1) When you are not unconsciously in control but not out of control.
2) Relaxed and Confident
3) Not thinking on your next line and yet you know you are going to say it.
106
True or false. The more you try to be in the moment, the more deeply you go into "the zone".
FALSE. The more you try to be in, the less likely you are to be in.
107
How do you get (or stay) in the moment? Give 4 suggestions.
1. Be strict about following you whims and impulses.
2. Feel you feelings.
3. Don't talk or move unless you feel like it.
4. Give yourself permission to fail.
108
How do you follow your whims and impulses?
You have to set aside the social standards. Not worry about if people are going to like it or not. Don't measure. Just do it.
109
What can cause an actor to stop following his whims and impulses? (Something that can happen on set, and it's unfair)
They get critized or made fun of by grips or other behind the camera staff.
110
Why can actors be criticized or made fun of?
Because bizarre riatuals to get themselves into "the zone". They might not meet social standards. They might have special needs that adds more work to the staff or need time.
111
How do you help actors to "not be bothered by the staff"?
By encouraging an enviroment of respect. Explain how important it is for the actor to be honest and in the zone. Decide what behaviors will not be tolerated against actors, and discourage them.
112
What if the only feeling the actor has is anxiety?
Encourage her to feel it more deeply, pay full attention to it.
113
What fear do actors have when they feel anxiety for not knowing the lines? (Or forgot other stuff)
They fear to be unprofessional. The important thing is to feel something, anything.
114
What happens when you ignore the actor's fear, and never know his anxiety?
Actor PRETENDS to be relaxed, when she's not. She shuts down feelings. It makes her tense.
115
What is NEUROSIS?
Is when someone is in denial of his feelings.
116
What happens when actors are in complete neurosis?
They can't be in the moment.
117
Why can NEUROSIS prevent the actor to be in the moment?
Because his sensory, intuitive and emotional resources are not available to him. They get shut down. (Suppressing or manipulating real feelings prevents the actor to be in the moment)
118
What are actors talking about when they say: "I'm just not there"
They are saying: I don't want to feel this, because you are not going to like it, so I'm shutting down this.
119
How can actors get out from NEUROSIS?
By giving themselves permission to feel. Even anxiety or fear to fail can be felt, anything, and then, surrender to it.
120
Why are anxiety or fear to fail a good thing?
Because all resistances, all fears, all feeling is potential ENERGY.
121
If after a while, actors don't seem to be able to give themselves permission to feel anything, what can you do to get them going?
Have them make physical excercise, scream. Or not, maybe help him to make introspection and find their feelings.
122
What does it mean "To move or talk when you feel like it"?
Not to do it until the actor finds an impulse inside of her. Only when she acces her deepest most private resources.
123
Not to talk or move until you feel like it. Means: Actors are allowed to roam and improvise on camera.
No. It's only a way to encourage them to follow their impulses.
124
How often should the director say "Don't start, or react to her until you feel like it, ok?"
Very often. Remind them that they have permission to take their time to acces their resources. You are giving them permission.
125
Define - "forgive yourself for mistakes". (Or give yourself permission to fail)
What is risk but freedom to make mistakes? It's ok if you make a mistakes. We're mistake-making creatures. The world is not going to end if you make a mistake.
126
What can you say to actors to encourage them to take risks. (Give themselves freedom to make mistakes).
I don't care if you don't get the lines right.
127
What if the actor is constantly forgeting his lines?
There is a difference between FORGETTING the lines, and NOT KNOWING THEM. If the second is the case, the actor needs time to study the scene. (this happens with amateur actors)
128
What can you do to prevent the actor from not knowing his lines when you know he's an amateur?
You need to encourage him to study his script every day, and ensure that he knows his lines on rehearsal, before shooting.
129
Name an example of JUDITH WESTON giving herself permission to fail, when she was stressed and after, she felt relaxed. (She was sick and had to give the seminar of Acting for Directors in europe)
She told to herself that she could cancel the seminar, take a plane back home, and rest... Only the idea of that relaxed her. She did't cancel, but she felt great to know that she could, she gave herself freedom.
130
[FREEDOM] What's the absolute enemy of art?
OBLIGATION.
131
Why do actors need Freedom?
Because having an obligation forces them to persue result direction. To do it right. THEY NEED TO BE RELAXED, FREE OF TENSION.
132
Write the bad splution to wrinkle
Pretend that the wrinkle is not there, then starts to FOCUS ON HIMSELF. Do they get me? Am I looking stupid?
133
TRUE OR FALSE and why. "It is better to place full relaxed concentration on the "wrong" thing than a tense, strained concentration on the "right" thing.
TRUE. Encourage relaxed concentration at all costs. Only relaxed can they be in the moment, be honest. Otherwise they focus on themselves and they fake it.
134
Name an example of an actor with relaxed concentration on the wrong place.
An actor with a wrinkle on his sock that is rubbing irritatingly against his food. His lines come out of a physical problem, instead of his self-consciousness (do they get it? Am I doing it right?)
135
What is an "INAPPROPIATE REALITY" for the actor when she is about to act?
Something that is uncomfortable. Maybe a wrinkle in the sock. Or sound of staff, traffic, etc.
136
How can INAPPROPIATE REALITY harm the performance?
When the actor is in DENIAL OF THAT REALITY. When the actor wants something else than what he currently has.
137
What is INTERIOR FREEDOM?
Is a CHANGE OF PERCEPTION of reality. Accept it. Forget about doing it right. Know that mistakes are sometimes a genius piece of work in disguise.
138
What did Gerald Hiken (Judith Weston's teacher) did when working with an actress interpreting Lady Macbeth?
He asked. "What's the right way to play your role?"
She said: "Angry and contemptuous of her husband".
He said: Good. Now let's run it again, but now, play with him and try to make him hug you.
139
Quote by Gerald Hiken about FREEDOM.
"Do it wrong! Whatever you do, for God's sake, stop doing it 'right'! It's better to do it wrong than to do it right!"
140
Quote by Gerald Hiken about EXPOSING
"Go ahead! Think your most private, embarrasing thoughts right in front of them!" (the audience)
141
What to say when the actor says: "I can't get my concentration"?
"What are you concentrating on?". You can't help in his concentration if you don't know what she is concentrating on.
142
What's the difference if the actor puts he's concentration on Hamlet's dead father, or the wrinlke on his sock?
If the work is properly done, the audience won't be able to tell which the actor is concentrating on.
143
How do you achieve the actor's "SOLITUDE IN PUBLIC" (term by Stanislavsky)
By having her concentrate on something specific.
144
How do you get the attention of the audience? (child attention metaphor)
If you beg for the attention of a child, he will ignore you. But if he sees you deeply involved in some task of your own, ant let him watch and partake of your fascination, the child will soon be by your side. Is the same with the audience.
145
PARADIGM: You cannot concentrate unless you are relaxed. True or false?
False. Is the other way around: having a simple task to concentrate on is relaxing.
146
What ability do crafted actor have on CONCENTRATION?
They are able to find simple things to concentrate on.
147
How does it help the actor to find something simple to concentrate on?
They unlock their imagination and opens their mind for the created reality.
148
What is good concentration and what is bad concentration? (Concentration on the correct or incorrect thing)
CORRECT: Anything but oneself. The other actor, the moment, feelings, mental images, immediate reality.
INCORRECT: Oneself.
149
What is RE-PERFORM?
Is when the actor tries to repeat a performance exactly as something done before.
150
How is RE-PERFORM a destroyer of prerformances?
Because get the actor "AIMING" for a result, putting his concentration on himself. ("Okay, so I was a little bit mad here")
151
What's the alternative to ask an actor to RE-PERFORM?
Invastigate, what was he concentrating on, and ask him to concentrate on that same thing, and put attention to new impulses, should they arise.
152
Can performance get better if the actor lets distractions in?
Yes. Denial creates tension. By accepting it you let space for freedom.
153
What is AIMIMG?
When the actor tries to get to a result.
154
It may seem contradictory: Actors need to go below their social mask to work well. Isn't that the same as AIMING for an altered state?
No. Piercing the social mask frees the actor and is a good thing. Aiming for an altered states creates strain and is a bad thing.
155
Is it easy to mistake ALTERED STATE with PIERCING THE SOCIAL MASK?
Yup. That is one reason why really good actors, who know the difference, get paid so much.
156
Name an example when the director forces the actor to RE-PERFORM.
"That's it, let's run it again, just do it exactly the same"
157
Why can sometimes the RELATIONSHIP of two character in a performance is NOT REPEATABLE from rehearsal to the set?
Because they lost track of what the character is actually talking about and why. (Subtext, situation and need)
158
Why are LINE READINGS performed by actors a bad thing?
Because is a way of saying something. The actor connect to "the way" of saying it, instead of the actual intention of the line, what he's talking about and why.
159
How can you tell when an actor has fallen into line readings?
When the other actor changes his tune and she reacts exactly the same to a whole new different stimuli.
160
How do professional actors treat punctuation in the script?
They follow it strictly.
161
Why is a good idea not to follow strictly the punctuation of the script?
Real people don't necessarely stop at commas, they can stop when they need breath, or to think something.
162
What's the purpose of punctuation, if professionals don't follow it strictly?
To make the text easier to read.
163
Abandoning punctuation sounds more natural. TRUE OR FALSE?
True. Just pay attention to normal people talking, their punctuation is not accurate.
164
Explain how foolish it is to repeat the same line reading to the actor over and over again. (metaphor - language)
Is like the stereotype of the american who is trying to communicate with someone who doesn't speak English, he merely repeats himself in a louder voice.
