Here you will get to read amazing magical articles related to acting. Which will perfect your acting with sharp mode and skills.
The Art of Not Knowing is reacting to every experience as if it were happening for the first time. Even though you think you know what is going to happen in a scene, you don’t know, and you don’t want to know. Because when you figure out ahead of time how you are going to act in your scene,…In acting, it’s best if you really don’t know.
The Art Of Acceptance: Acceptance of the imaginary situation as if it were real allows you to be emotionally effective. Acting on film is not reality but a composite of imaginary circumstances and relationships. If someone holds a gun on you, you will have an emotional experience depending on your knowing that the gun is either loaded or unloaded.
Stage Acting vs. Film Acting: In both film and theater, there are two kinds of roles: personality and character. Your personality is who you are mentally, physically, emotionally, and spiritually. Almost all the roles in film are personality roles in which you play yourself as if you were actually the character called for by the script.
A friend of mine, who is a now a successful film actor, tells a story that when he was fresh out of college with his degree in theater acting, his first professional job was a role in a low-budget feature film. He determined to knock ’em dead. He studied and restudied the script, analyzed his character, an planned his performance and his choices line by line. As is the case on a depressingly high number of films, he got no help from the director. Later, when my friend saw the finished film, he was surprised and embarrassed that in most of his scenes he was not believable. He looked especially bad in the scenes he had rehearsed the most diligently and in which he had carefully made his choices. Why was this?
Concentration of attention on the other person’s emotions is the creative source of film acting. Through the Art of Concentration you experience the other actor’s emotions with clarity. Human beings are always in some state of emotional experience, and your job is to deal with that experience.
To sight read, glance at the dialogue for a second or less and immediately return to your point of focus on the other actor. In my class exercise, I ask you to glance at the line. No matter how little you grasp in that fraction of a second, immediately focus your eyes back on the other actor.
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