SOME VIEWS on the PROFESSION and CRAFT of ACTING © 2004

(A brief Essay) © 2003 by Bill Breuer

• Acting is it is the craft of storytelling, creation (also recreation) of a persona, image, and portrayal. It might be best for the profession to adopt a public vocabulary to describe what is that we do.
• Having known and worked with actors all my life, I have come believe that there is a need to be aware of the public terminology we use when referring to our noble and complex art form. Some of it is our own fault, perhaps due to our own enthusiasm for our craft or due to an ever-changing definition of words.
• We misuse, oversimplify and make frivolous our art when we use words in our modern world such as 'it is a play' (we are not play-acting, are we?). It is at least a project - a show and likely very much feels like a production!
• What about the many times we say, 'it was fun' (I agree sometimes it is 'fun'. ) Was it only just 'fun'... or did you work your hind end off learning lines, blocking, developing a voice and creating a character? It was perhaps enjoyable, fulfilling, rewarding, and perhaps even occasionally satisfying.... but do you really want the public to view you as someone who just has 'fun' and 'plays' at what they do? Do you not want appreciation for your crafting and artistry?
• Now to the word 'act' or 'acting'. This is another word that has been corrupted that we might abandon in speech where we are able. It is often used to depict something false or frivolous, contrived in a shallow or sham manner. So what is it that you do up there? You PERFORM! You MANIFEST or PORTRAY a Role (and reveal the character in multiple dimensions) !
• We are illusionists.... we create a situation whereby the audience suspends critical thinking.
• Remember the work that your craft demands. Realize that we invent, create, manifest, develop, sculpt a role.... and use those words. It is indeed magic!
• If we want the public to truly appreciate our art, increase the public's esteem, then take a tip from some of the most revered professions: use terms that really describe what you do.
• Acting is the most comprehensive and wholistic of the arts. None other can so comprehensively represent the human condition.
• Perhaps at one time it was considered at the bottom of the list.... (the actor was held in the least esteem of all artists). I feel that this was do to the lack of our technological ability to leave a permanent work for future generations that all could see and evaluate. The ability to record sound, then pictures, then both together, created the necessary permanency of performances that can be studied, appreciated and even refined.
• A performance must be CRAFTED - created, developed and carefully honed.
• It has been said 'Just memorize your lines and don't bump into the furniture', but the person who spoke that had the advantage of good natural theatrical instincts and his previous training in seminary gave him the advantage enhancing deep feeling, being articulate and expressing himself. Like many professions the preparatory training can make for a good actor. He was exposed to good actors whereupon he learned and improved along the way. When acting is just left to the elements of what this often mis-used quote implies: the performance reveals the lack of depth and feeling, life experience, all the subtle telegraphing it takes to involve the audience in a livid, convincing performance.
• Voice training, work from both within-out and without-in is essential. This is why technique, method, approaches, subtle inflection and timing are so important to preventing a shallow, lack- luster parroting of words while moving about on a stage!

THE SPECTRUM OF EMOTIONS:

These are theatrical expressive exercises that I have 'drilled' over the years. They are facial as well as internal emotions that must be conveyed to the audience when needed. In 'Method' we work on actually bringing up and experiencing these emotions and thereby producing them on stage and screen. To do otherwise is to 'indicate' or 'rubberstamp' act out the emotion for the audience. Unfortunately, so very often the audience can tell. I present these to students regularly. Here is a list (though never complete)....

THE SPECTRUM OF EMOTIONS: HAPPINESS: Alive, Anticipating, Bouncy, Bubbly, Charged, Crazy, Delighted, Ecstatic, Elated, Enthusiastic, Euphoric, Excited, Exhilarated, Exuberant, Happy, Inspired, Joyful, Lively, Overjoyed, Sparkly, Tickled. - CALM: Comfortable, Content, cool, Grateful, Hopeful, Kindly, Patient, Peaceful, Pleased, Quiet, Refreshed, Relaxed, Relieved, Satisfied, Secure, Serene, Successful, Warm, Whole, Wonderful. - POWER: Abusive, Adventuresome, Amazed, Competent, Confident, Dictatorial, Empowered, Energetic, Energized, Positive, Proud, Smart, Stimulated, Strong, Validated, Visionary, Wise. - LOVE: Adored, Affectionate, Appreciated, Appreciative, Attractive, Beautiful, Cherished, Fulfilled, Glowing, Loved, Loving, Passionate, Pretty, Radiant, Safe, Sexy, Thrilled, Turned On. - EMPTINESS: Alienated, Apathetic, Bored, Deprived, Disconnected, Distant, Empty, Flat, Hollow, Hopeless, Insignificant, Passive, Sluggish, Stale, Stifled, Suffocated, Tired, Unfulfilled, Weak. - SADNESS: Anguished, Betrayed, Blue, Dead, Depressed, Discouraged, Down, Drained, Grief-stricken, Helpless, Hurt, Low, Miserable, Morose, Numb, Pessimistic, Powerless, Tearful, Unhappy, Washed Out. - FEAR: Afraid, Anxious, Apprehensive, Confused, Fearful, Frightened, Hesitant, Insecure, Nervous, Scared, Torn, Uncertain, Uncomfortable, Unsure, Worried. - LONLINESS: Abandoned, alone, Burdened, Isolated, Left Out, Lonely, Lost, Rejected. - REGRET: Regretful, Remorseful, Shamed, Sorry, Used. - INTENSE PRESSURE: Angry, Desperate, Explosive, Furious, Horrified, Irate, Irritated, Livid, Mad, Outraged, Pissed Off, Shocked, Violated. - LONG-TERM ANGER: Aggravated, Annoyed, Disgusted, Distressed, Disturbed, Exasperated, Frustrated, Impatient, Irritated, Negative, Offended, Smothered, Ticked, Upset. - STRESS: Belittled, Bitter, Regretful, Resentful, Revengeful, Shattered. - GROUCHNESS: Consumed, Cornered, Embarrassed, Flooded, Hassled, Hot, Humiliated, Jealous, Overwhelmed, Panicked, Pressured, Rushed, Stressed, Tense, Threatened, Trapped. - IRRITATION: Bitchy, Cranky, Edgy, Grouchy, Grumpy, Irritable, Moody. ======================================================================================================================================================================== VIEWS ON 'BRITISH' & 'AMERICAN' ACTING TECHNIQUES. Having trained in both approaches, I find I become annoyed when attending classes that speak against one or the other and I privately snarl when I hear a teacher ranting on the subject - preferring one over another. As an extreme simplification: the first trains from the 'outside in', the second from the 'inside out.' I have no favourite and in fact one has to listen to these diatribes with a good sense of humour. There is wisdom and advantage in both. Ideally the actor has to train from both directions. One learns to get the emotions from within and then project them out to the external (but by performance time not 'over the top') but do not forget that we get our input as to what to display from outside. It is from without that our being becomes aware of the meaning and impact of the words of others (how they are expressed to us), then after digestion of these, we display vocally and visually the reaction our character has to them. Why is it one way or the other? Beats me! The best seems to me is a blend of both. Now THAT'S the CRAFT !

MORE!

Some of Grotowski's Principles
When Energy Between Scene Partners Threatens Everything
Notes On Comedy
Theatre Superstitions!
The Spectrum of Emotions in Acting
The Arts - Who Needs Them?
Why Do Live Theatre? Why Go?
Amateur vs. Professional - what do these terms mean?
New to acting? First job? Read This!
How do actors Learn All Those Lines?
THEATRE CRITICS
Advice for Artistic Directors and Company Managers
For Show Directors!
Negativity in the Theater
What is a Pro-Am Community Theatre?
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