CHEMISTRY BETWEEN SCENE PARTNERS
The Vital Mixture
Chemistry between scene partners is something that not only the actors feel - but audiences can feel as well!
Occasionally, some actors are put together on-stage and though each might right for the part, they just don't relate.
When one scene partner changes her/his movment, blocking, inflection, line delivery, facial expression and the other is truly acting (therefore reacting) it can throw off that parter's lines, make her/him 'go up' on a section or even destroy a scene. The offending scene partner can literally mess up the delivery of the lines for the other partner for the whole duration of the show! It could be just nerves, subconscious, openly deliberate, habitual or accidental in nature - but it is destructive! It is worse than 'upstaging' it can make that partner's performance look bad. Beware of this if you are not the local favourite, the new person in the cast or if you just can't get along with that other actor!
Sometimes it is fear on the part of one, othertimes there are hidden motivations - but no matter what - this essential ingredient must be cultivated.
Professional actors who sense something is wrong will often try to engage and 'bring out' the other person to solicit their opinions, compliment their work or talent.... essentially do anything to help bridge the gap.
Often other people behind the scenes or even the cast will 'buddy up' just to create some good energy... but often it is with only one person instead of both.
There are exercises that some directors use to cultivate the necessary feelings between actors when ithe chemistry is not right.... or even absent!.
When the chemistry is really there.... things sizzle! Everyone wins!
THE CHEMISTRY BETWEEN SCENE PARTNERS - ESPECIALLY WHEN IT GOES BAD: (When The Bad Energy Between Scene Partners Threatens the Quality of Your Performance) Grotowsky wrote much about the concept of the back and forth energy from audience to actor. I would like to address the effect of energy between scene partners when the chemistry is bad due to one of the actors.
If this occurs and one partner is not responsive to the needs and methods of the other, and it cannot be remedied by you through one of many techniques (such as with Ivana Chubbuck's wonderful approaches to this problem) – you potentially have serious troubles on your hands. You and everyone else in the scene can be made to look very bad. Suppose, for example, you've done your homework, and you are one of the leads in a show, you come to rehearsals off-book and soon after some initial conversations you find your scene partner is completely in another place – has a totally different process and training than you, he/she seems to have other issues which you detect but can't clarify, has different definitions and opinions than you, tries to one-up you in front of the crew and tells you that he/she doesn't even feel that you are playing your character properly, or even won't budge on personal interpretations. Get ready! Try to realize that it is the lack of chemistry and perhaps other hidden issues that has changed the reciprocal tone and even the rhythm of the dialogue which you are delivering. It could even offset the timing of stage business. You may initially be aware of 'something' seeming to throw off your focus or others in the scene. There can be distractions or even verbal physical/blocking cues that this partner is changing, delaying or doing prematurely. You may see this person dropping the 'fourth wall'. It is time to have a talk with the director. Somebody has got to make some dictatorial decisions. When this doesn't happen, you will now have to do something more to please the crowd. The audience will detect that lack of chemistry and realize that there is only a superficial/representational relationship between the partners on stage. If your partner is not doing this consciously and has the emotional walls already up (and won't discuss the situation.), then you, as the one who understands something is wrong, must move to save the performance. Always remember that entertaining the crowd is the most important product of the work.
So here's the advice: get bigger! Up the performance energy, if it is a comedy – get the laughs to become even greater. If it be drama, be more dramatic. Add or enhance a character flaw. In other words: overshadow the negative energy. Lots of light will cover shadows as lots of sound will cover noise -so bigger laughs and stage presence/personality will help cover problems. In spite of your feelings, you/the other scene partners must do everything possible to make that other actor look good. It's not just being a professional, but it adds to that 'bigger' energy, improves the quality of the performance, and you appear even better on stage! What was the scene partner hiding, jealous, protecting or afraid of? That may never be truly discovered to your satisfaction.
