Acting With Impact
By Robin MaslandAre your actors ready? Will they be real to the audience? Or, will they appear to be stilted, two-dimensional people who are obviously only reciting their lines? What makes the difference? Many ask, "Why do some actors seem to be transformed into the character while others seem so artificial?"
The key is preparation, but it takes more than simply memorizing a set of lines and learning where to stand on stage. While there are many theories and styles for teaching acting, we have found that beginning with some basic ingredients will bring energy and creativity to the development and training of your actors.
The Journal: A Key to Character Analysis
Keeping a journal is one of the critical keys to success in bringing characters to life. This should act as a diary for the character as well as the actor, exploring relationships, feelings, goals, and conflicts. Actors need to evaluate the complexities in their own lives to understand the possible intricacies that will be part of their characters' lives. Daily, they should write thoughts, feelings, perceptions, and insights in this journal, especially after rehearsals.
Analyzing characters is an essential first step in the rehearsal process. As the actor begins researching the character's profile, many of the answers about each character can be found or suggested throughout the script. The actor will discover that the unanswered questions can be found in his or her own interpretation and intuition. Begin the journal by exploring the following aspects of the character:
• Age, gender, nationality and appearance (old, young, Irish, African, tall, short, lanky, burly, balding, graying hair)
• Intellectual characteristics and education (smart, highly educated, low or high grade point average, well known schools or not, high school drop out)
• Economic status and occupation (rich, poor, middle class, sales, unemployed, professional, waitress, laborer)
• Emotional, mental, and physical characteristics (insecurities, fears, hopes, dreams, aspirations, stability, strengths, weaknesses, idiosyncrasies, phobias, disabilities, abnormalities, moles)
• Posture and movement (straight, bent, shuffling, brisk walking, heavy, light, quick, hand movements, expressive)
• Beliefs and attitudes (religion, personal and social views, political persuasion, family values)
• Likes and dislikes (favorite or disliked foods, books, TV shows, movies, alcohol, smoking, places, colors, designs, cars, houses, sports)
• Time and place (date, year, geographic location, era, Victorian, colonial, modern, future, morning, afternoon, evening, setting, garden, park, home, underground)
Script Analysis to Understand the Intent
The playwright reveals the personality of a character in the lines and actions in the play. The character is not merely a set of lines, but a careful combination of events and circumstances that have molded the character's emotional, physical and spiritual depths which are revealed through the actor's actions.
The director and actors must evaluate the lines to understand the objectives behind them. Why does an actor say or do something? It is not enough to merely recite lines without knowing the playwright's intent. True drama happens when an actor understands why the character is doing or saying something. The behavior should matter to each character. The actors must uncover the goals of their characters - what do their characters really want? It is critical that you examine eight crucial areas about the characters to learn the playwright's plan for them and to bring to life a credible interpretation:
- Objective: What is the character's main goal?
- Motivation: What motivates him or her to action?
- Actions: What does the character do to achieve the objective?
- Obstacles: What is in the way of achieving the objective?
- Attitudes: What attitudes/relationships does he or she have?
- Thoughts: What is the character thinking in each scene?
- Feeling: What is the character feeling in each scene?
- Intentions: What is the intention of the character?
- What are the conflicts?
Have the actors write the answers in detail. Encourage them to continue using the journal. The more they know about their characters' conflicts and inner emotions, the more likely they will be able to translate this to the stage. In fact, we are sure that if the actors do not do this, they will limit their effectiveness.
Elements of Acting
A play, unlike a poem or novel, is meant to be performed, not read. It is an experience for the audience that touches their entire being and it comes alive only through the actions of the actors who know their characters. These six elements are the foundation of acting and will stimulate the actor's creative potential. They will help your actors breathe life into the characters and grasp their inner emotions and intent.
Imagination is the ability to transform or create something from nothing. Actors must visualize their characters' behaviors, asking, "What if I were this person?" Allow the actors' imagination to create.
Concentration is the ability to see and hear only what we want and need screening out everything else. It is the key tool to becoming totally engaged with the other characters and the "on stage environment." Lack of concentration will break the energy and the moment being created.
Observation is the ability to actually see things, not just look at the world around us. Actors need to develop a skill of observing people and their behavior, learning how people communicate not only through use of words and inflection but also through non-verbal behavior. They need to be consciously aware of seeing the unspoken communication that is happening beyond words.
Memory is the ability to recall what we have seen, felt, smelled, touched, heard all of our senses sensory and emotional. When actors are trying on their characters, they will seem more vibrant on stage if they can identify with the characters' feelings and experiences. We all have memories of things we have experienced and seen. Actors can "fabricate" memories by researching eras, events, and activities that are unfamiliar in their own experience. For example, an actor may prepare for a role set in London during World War II by studying books, films, and pictures from that setting. This imprints "memories" on the mind of the actor.
Interpretation is the analysis each actor does to understand the physical and emotional depth of becoming the character, both verbally and non-verbally. It is the pathway to bringing life and realism to the character and the script.
Spontaneity is perhaps the unexpected and, most often, effective level in creativity. Actors must be engaged, emotionally and intellectually, in each scene. They must listen and react to lines as though hearing them for the first time every time they hear them. It is a strong temptation to simply wait until it is the actor's turn to speak rather than truly listening and responding to the other actors and events. Spontaneity will naturally happen when actors are in character and truly "in the moment" on stage.
How well the actors portray the characters will depend upon their ability to master all six of these key elements. Improvisational exercises and theatre games will stretch your actors' skills and creativity.
Elements of Delivery
It is imperative that actors have sufficient variety in their delivery to keep the audience interested. As the actors rehearse, they need to work on timing, pitch, volume, rhythm, tempo, quality, articulation, and projection, which are most often driven by the character's emotional intent.
Timing is the moment that the actor delivers or does not deliver a line. It is critical to know when to speak or not to speak. Sometimes a line requires an interruption; other times a quick pause before beginning. Script analysis will reveal this.
Pitch is the level of sound in a character's voice, high, low, or monotone, which may differ from the actor's normal voice. Tape recording the actors will help limit tendencies toward monotone performances.
Volume is the inflection, raising and lowering, of the voice to convey the character's emotional intent. Is the character angry, sad, depressed, happy, or frustrated?
Rhythm and tempo are the flow and measurement of syllables, words, speech, and movement of verbal and non-verbal communication - together creating the mood, not only of the character, but also of the scene. Are the lines staccato, slow, fast, or musical?
Quality is the diction, delivery, and sound characteristics - graveliness or smoothness. Actors must "stay in character" through the quality of the delivery.
Articulation is the formation of words - a key to clarity and an indication of the character's roots, history, education, and other background characteristics, such as accents that reveal geographic identity and culture. Like quality, it is important for the actor to remain consistent throughout the performance. This can be difficult if the actor is portraying someone distinctly different from him or herself.
Projection is getting the voice to carry without yelling. It is as much an expansion of the full diaphragm as the sound of the voice.
Holding Your Breath
Back to opening night. The curtain is open, your actors appear on stage, the audience is focused intently on the stage and immediately there is action that reveals the characters. You finally let out your breath. This might actually work. After all, the actors are, well, acting!
