Chapter 7Chapter 7

The Art of ActingThe Art of Acting

Shakespeare On ActingShakespeare On Acting“All the world’s a stage / And all the men and

women merely players.”--As You Like It

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Training to be an ActorTraining to be an Actor

The BodyThe BodyDanceDanceMartial artsMartial artsFencingFencingStage combatStage combatCircus techniquesCircus techniquesYogaYogaTai ChiTai Chi

Training the ActorTraining the Actor

The VoiceThe VoiceBreathing techniquesBreathing techniquesVocal technique in pitch, volume and Vocal technique in pitch, volume and

resonanceresonanceDialectsDialectsInternational Phonetic AlphabetInternational Phonetic AlphabetSingingSinging

Training the ActorTraining the Actor

The MindThe MindMemorization skillsMemorization skillsEngaging with the imaginationEngaging with the imaginationLevels of empathyLevels of empathyKeen awareness of surroundings and Keen awareness of surroundings and

othersothersAbility to analyze and synthesize Ability to analyze and synthesize

information quicklyinformation quickly

Konstantin StanislavskyKonstantin Stanislavsky1863 - 19381863 - 1938

““An actor lives, weeps, laughs on the stage, but as he weeps and laughs he observes his own tearsand mirth. It is this double existence, this balance between life and acting that makes for art.””

--Konstantin StanislavskyStanislavsky

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Tadashi Suzuki Tadashi Suzuki

Suzuki’s training embodies the stamina and concentration of traditional Japanese theatre.

This rigorous training is designed to temper and shape the body so the actor can bring to the stage a “brilliant liveliness” that takes into account the “tiniest details of movement.”

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Acting Techniques We Can All Acting Techniques We Can All UseUse

Changing How You Changing How You FeelFeel

Outside/inInside/outTechnical

approachEmotional memory

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Acting Techniques We Can All Acting Techniques We Can All UseUse

EmpathyEmpathy

Magic Magic ifif

SubstitutionSubstitution

© 1987 Ron Scherl/StageImage/The Image Works

Understanding a CharacterUnderstanding a Character

Given circumstancesTheir particular situationTheir specific problemsTheir limitationsTheir hopes

SuperobjectiveWhat is this character’s main driving force?What does he or she want?What is the most important thing to this

character?

Understanding a CharacterUnderstanding a Character

Public Image and Personal ImagePublic Image and Personal Image

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Understanding a CharacterUnderstanding a Character

Inner conflictInner conflict

Character flawCharacter flaw

Motivation Motivation

Thinking in Thinking in positivespositives

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The Actor’s LifeThe Actor’s Life

Actors’ Equity AssociationActors’ Equity Association Screen Actors GuildScreen Actors Guild American Federation of Television and Radio American Federation of Television and Radio

ArtistsArtists

AuditionsAuditions

•Open call – “cattle Open call – “cattle call” call”

•Cold ReadingsCold Readings

•ImprovisationsImprovisations

•Callback listCallback list

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Rehearsal to PerformanceRehearsal to Performance

Table workTable work Blocking rehearsalsBlocking rehearsals General working General working

rehearsalsrehearsals Special rehearsalsSpecial rehearsals Off-book rehearsalsOff-book rehearsals Run-throughsRun-throughs Tech rehearsalsTech rehearsals Dress rehearsalsDress rehearsals PreviewPreview PerformancePerformance B

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Curtain CallCurtain Call

“Actors are responsible to the people we play. I don’t label or judge. I just play them as honestly and expressively and creatively as I can, in the hope that people who ordinarily turn their heads in disgust instead think, ‘What I thought I’d feel about that guy, I don’t totally feel right now.’”

Philip Seymour Hoffman, actor

““Acting is simply my way of investigating human nature and having fun at the same time.

Meryl Streep, actor