4_5-Ways-to-Work-on-Character-Development-in-Rehearsals

Beyond Meisner and Method: Discover Unique Acting Techniques for a Complex Performance

by Acting TechniquesUncategorized

I believe 80 percent of someone’s success comes from their mindset. To that end, I’m always looking for creative ways to “hack” it and hone in on the powers of your subconscious. Sometimes I apply these hacks to the business of acting and other time to the craft of acting. Craft is what I’ll be focusing on today.

I know you’ve heard of improv, Meisner, method, and the like, but you’ve probably never heard about the techniques I’m going to talk about next.

But they’re really powerful and you can use them to better understand your character so that you can deliver a more complex, layered performance.

If you’re interested in trying any of these out, I’ll include a link to a workbook with the three techniques I’m talking about today in the show notes.

Ok, let’s get to it. The first technique is called mind mapping. Mind mapping is a way to organize your thoughts and get a better understanding of your character, you know? It’s like a visual representation of who they are, what they’re thinking and feeling, and why they do the things they do.

To start, you just braindump all the key aspects of your character, like their appearance, personality, and backstory. Then you can create branches from there, like different sections of the map, to dive deeper into specific details.

For example, let’s say you’re playing a character who is struggling with addiction, you can make a branch of their backstory and add details about how they got into their addiction and what events led to it. Another branch could be about how the addiction affects them physically and emotionally.

Mind mapping can also be helpful for understanding the character’s relationships with other characters in the story. Like, you can create a branch for each relationship, and list out the pros and cons of that connection and how it affects your character.

It’s also useful to use the mind map during the preparation of the scene,  ‘cause it can give you a clear picture of your character’s thoughts, emotions, and objectives in a given scene, so you can use that understanding to bring the character to life on stage or screen.

You can also use the structure of a mind map to make an empathy map. Empathy maps are just a visual tool to help actors understand the characters they are playing, by mapping out their thoughts, feelings, needs, and wants. You can use these to think about details down to the smallest beat.

Overall, mind mapping is a super useful tool for actors, it’s like a visual tool to help you organize your thoughts, get a better understanding of the character, and make the role more believable.

Next, we have the Six Hats exercise which is a way to explore different aspects of a character. It’s a pretty cool method that actors can use to get a better understanding of their characters and to help them develop them.

Basically, the Six Hats exercise involves thinking about the character in six different ways, which are represented by six different colored hats. Each color corresponds to a specific type of thinking.

Here’s a brief breakdown of the colors and what they represent:

  • White Hat: this is where you think about all the facts and information that you know about the character. Like what their backstory is, what their appearance is like, what they do for a living, who the other people in the story are that are relevant to the character, and any other objective details. You can also use this perspective to research the time period that the story is set in or to study the cultural background of your character to gain a better understanding of their beliefs and the way they move in the world. I also like to add facts that other characters have said about your character to this section. For instance, “June took 10 of her friends out for dinner on her own birthday.” Whether this comes from a purely altruistic point of view or something more selfish gets explored by the red hat.
  • Red Hat: this is where you think about your gut reactions and emotions about the character. Like what you feel about them, and what you think their emotions are to all the specific situations and relationships in their story. Here is where you’d also explore what June’s motives might have been in taking her friends out to dinner on her birthday. Was she trying to buy their friendship? Or maybe she wants to be seen as the hero? Or hell, I don’t know, maybe she’s just really generous with people she loves. As I said, the red hat looks at these different aspects.
  • Black Hat: this is where you think about the negatives or potential problems with the character. Like what flaws they have or what’s keeping them from their story objective or anything else that could be seen as negative.
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  • Yellow Hat: this one’s just the opposite. It’s where you think about the positives or good things about your character. Like what strengths they have or anything else that could be seen as positive. It’s also where you add up all the things the character has going for them that are external as well.
  • Green Hat: this is where you think creatively and come up with new ideas about the character. Like thinking of new ways they could be played, new characteristics they could have, or new aspects of the role. For instance, you could play around with opposite reactions to the ones that are written in the script. You probably won’t end up using everything you discover but it might unlock some unique reactions that are very specific to the character and surprising to everyone else. You can also use this perspective to imagine different scenarios or situations outside of the script that the character might find themselves in and how they would react.
  • Blue Hat: this is where you think about the overall structure and organization of the character. Like, how all the different pieces of information you’ve gathered about the character fit together to make a complete picture.

So that sums up the 6 different perspectives that you can use to gain new insight into who your character is. By using this method, actors can explore different aspects of the character, separate emotions from facts, and also have a better understanding of the character’s motivations and objectives.

It’s a really helpful way to think about a character from all the angles, and it helps you to be more creative and open-minded when approaching the role. It also gives you a better understanding of the character’s motivations, and emotions and how it affects the story overall.

It’s a pretty cool way of thinking about a character from different perspectives, that can help you bring the character to life.

Lastly, there’s the SWOT Analysis Technique.

SWOT analysis is a tool that is commonly used in business to identify the internal and external factors that are favorable and unfavorable to achieving a specific goal. Actors can use this technique to analyze their characters and to identify their strengths, weaknesses, opportunities, and threats in order to achieve their objectives in the story.

The acronym SWOT stands for:

  • S for Strengths: This refers to the positive aspects of the character that can be used to achieve their objectives. For example, a character’s intelligence, charisma, or physical strength could be considered strengths.
  • W for Weaknesses: This refers to the negative aspects of the character that might keep them from achieving their objectives. For example, a character’s impulsiveness, lack of confidence, or fear of failure could be considered weaknesses.
  • O for Opportunities: This refers to external factors that may help the character to achieve their objectives. For example, a supportive friend, a chance meeting, or a change in circumstances could be considered opportunities.
  • And T for Threats: This refers to external factors that may keep your character from achieving their objectives. For example, a rival, a difficult obstacle, or an unfriendly environment could be considered threats.

I hope you found these techniques helpful and that you can apply them to your own acting practice.  Remember, by using mind mapping and the Six Hats exercise, you’ll be able to gain a deeper understanding of your characters and bring more complexity and nuance to your performances. And don’t forget to grab your copy of the free workbook I mentioned above for even more tips and tricks on how to use these techniques. As always, keep experimenting, keep learning, and keep your mind open to new possibilities. Happy acting!

1930's Accent from Katharine Hepburn

Mid Atlantic Accents

by Acting AdviceActing Techniques

As an actor who does a lot of voice work, I’m often asked to do a “Mid Atlantic” or “Trans-Atlantic” accent.  Oh, that elusive country somewhere between N.Y. and London that just does not exist. What my clients really mean, of course, if that they want me to not to speak in a “twangy” voice (which I don’t anyway).  They want a neutral, or standard, American accent.  The Mid Atlantic accent is a now-abandoned affectation from the period that saw the rise of matinee idols and Hitchcock’s blonde bombshells. If you were to talk like that today, people would think you had serious delusions of grandeur. But in the films and newsreels of the 1930’s and 1940’s all you heard was this fake British elocution.  That’s because it was taught not only in finishing schools but also by the Hollywood studio system.

So, even though the country of Midatlantia doesn’t exist, the mid Atlantic accent does (or at least it did). It was made famous by actors like Cary Grant,  Douglas Fairbanks Jr, Bette Davis, Joan Crawford, Eleanor Parker, and Grace Kelly, just to name a few.  It represented an upper class upbringing from somewhere in the Northeastern region of the United States.  Its instantly identifiable to anyone who’s ever watched a classic movie.  And, as with so much of pop culture, it trickled down to the masses who wanted to emulate their idols.  This style of speaking was epitomized in the 1930’s and 1940’s but rapidly began to disappear after World War II.  I don’t know if it was the rise of actors like John Wayne and Humphrey Bogart or the surge in American pride, but by the 1960’s this accent had all but vanished.  The video Wings Over the Golden Gate is an excellent example of this style as is this clip from Philadelphia Story starring Katherine Hepburn, Cary Grant and Jimmy Stewart.

For this session of the Weekly Workout we’re working on two plays.  The first is Iron, which is a Scottish play by Rona Munro and the second is called The Violet Hour by Richard Greenburg.  The Violet Hour is set in 1930’s New York and centers around 5 characters who all either are, or strive to be, upper class Americans.  That means this accent comes into play big time.

Our dedicated group of actors really like to be challenged.  So even though each week is really a continuation of the rehearsal process as opposed to a performance, we like to be as authentic as possible in our characterizations.  That means actors will research the styles and social circumstances surrounding their characters and that includes speaking with the correct accent.  The 1930″s really was a different time.  Things seemed much more “affected” but it can be a trap to act affected.  Actors will have to find the truth of their characters within the parameters of the times they live in.  This can be extremely challenging but its definitely also very rewarding.

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How Keep Your Performance Dynamic

by Acting AdviceActing Techniques

We all know that a good performance is a carefully connected dance of need driven actions.  But sometimes, it can be hard not to refer back to our favorites time and time again.  When you need a little something to spark the imagination, this slim little volume of action words will do the trick.  It helps you find the perfect description for every beat so that your performance remains dynamic and unpredictable.  Why just “tempt” when you could allure, attract, bribe, cajole, coax, entice, induce, influence, lure, seduce… Why “stop” when you could curb, block, confound, constrict, constrain, control, dampen, delay, discourage, encumber, fetter, gag, hamper, handicap, halt, hinder, hold, impede, inhibit, moderate, muzzle, obstruct, oppress, quieten, repress, restrain, silence, stifle, still, subdue, suppress, throttle, trammel…

You can see how each word subtly influences the way you would enact your performance.  As an exercise during rehearsal, try using at least three variations of each word then pick the opposite word and try three variations of that.  For example, antonyms for “Oppress” are: aid, assist, comfort, help, make happy, please, soothe, benefit, calm, compliment, delight, encourage, give in, inspirit, let go, praise, release, yield, surrender, boost, and gladden.  Often when you try the opposite of what you think your action should be, you’ll end up with something that’s unpredictable and layered.

Our art is made up of words and actions. The more you have in your toolbox, the more varied you’ll be.

Go ahead and give it a try.

Kevin Spacey Embodies 9 Great Actors

by Acting Techniques

I am a huge fan of Kevin Spacey.  I think he’s one of the most talented actors around.  What I didn’t know if that he’s an impeccable impersonator.  During his interview with James Lipton for the Actors’ Studio Kevin nailed impersonations from nine different, iconic actors.

Jimmy Stewart

Johnny Carson

Kathryn Hepburn

Clint Eastwood

John Gielgud

Marlon Brando

Christopher Walken

Al Pacino

Jack Lemon

This is truly unbelievable.  It made me laugh and to be honest, more than a little green with envy.  The man has mad skills.

Constantine Stanislavski

What the Hell is Method Acting

by Acting AdviceActing Techniques

I have to admit, when I went to acting school a 100 or so years ago, we were taught about Stanislavsky.  We were told about Lee Strasberg, Stella Adler and Uta Hagen… I think Sanford Meisner might have been mentioned as well, but it wasn’t Method acting as we think of it today.  We did have the magical “what if” which has carried me though many years, situations and scenes and I still use it today.  But maybe I should take a sec and explain what “method” is because, even though actors are loath to admit it, there’s a lot of confusion surrounding the subject.    It is nothing more than a technique, or rather different techniques like sense memory and affective memory, that enable an actor to express feelings and actions authentically and as if they were happening in real time.  It began with Stanislavsky who had several epiphanies when he was still a student in acting school in Moscow.  There he developed exercises that help in creating authentic seeming situations and characters. He called this his “System” and wrote all about his experiences and the exercises he created in his book “An Actor Prepares“, which every actor should definitely read.

In the 1930’s he moved to New York and, along with Lee Strasberg he formed the Group Theater.  About 10 years later, Strasberg formed the Actors’ Studio.  It was Strasberg who actually coined the phrase “Method” to distinguish how what he did was different to what Constantine Stanislavsky was doing.  What he actually said was something along the lines of, “Constantine does that but “my method” is this… That got shortened to Method which later became Method Acting to distinguish it from Classical Acting techniques.  The basic difference between the two is that Method acting focuses on bringing internal situations out while Classical acting techniques are much more physical, or external in nature.

A lot has happened in the field of acting since the 1930’s.  Method continues to evolve with many famous teachers putting their own special twist on it.  Personally, I think this is great.  We’re not all the same so why should the same techniques work for everyone?  At the moment, the two most famous contemporary teachers are Susan Batson and Larry Moss both of whom focus quite a lot of attention of affective memory.  Personally, I like this approach, though I feel like if you only use this kind of preparation you can’t really incorporate another character – you are only really ever bringing parts of yourself out into the open.  It works for me but I also like to combine parts of Classical acting techniques like learning how to use the body in different ways as well.  I find changes in external movements, postures, rhythms, and vocalizations affect how I feel on the inside and add layers and textures to my characterization that internal preparation alone couldn’t achieve.  Basically these external changes allow me to use my internal work to create someone totally new.

That’s why starting this October, the Atelier will be featuring coaches who specialize in teaching this combination of internal and external preparation.  The first coach is Sarah Perry who will be here next month to teach Movement for Actors.  After that we have Paul Miller who has developed a workshop that teaches how to incorporate Animal Work into performance and characterization (I actually wrote a post about the actors that use this technique some time ago).  Lastly, starting in January, Giles Foreman will be here to teach a four week block (spread out over 8 months, one a month every other month, to allow time to assimilate the techniques) called the Psychology of Movement and Character Analysis.

 

Movement for Actors with Sarah Perry

Interview with Sarah Perry

by Acting AdviceActing Techniques
A lot of actors, especially those who only focus on method acting, don’t realize how important movement is to building a character.  Unfortunately, this means they’re missing out on huge opportunities to create something unique and completely different from themselves.  In this interview, I asked Sarah Perry, who will be here next month to teach actors how to use their bodies to incorporate a character fully, a few questions…
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1.  How did you get your start as a movement coach? 

It was really a process that evolved, I can’t precisely remember when it actually started. I have always been passionate about acting, movement and teaching and the three just naturally combined over the years. I had great teachers who inspired and encouraged me to teach, and fortunately I had people who were crazy enough to want to listen to me. I love to share and I love to learn and I love being part of a creative process. I’d like to think that my enthusiasm and passion for my craft gave me my start – the rest came from building contacts and working very hard at what I love to do.

2.  You recently worked as a movement coach on Jupiter Ascending.  Can you tell me how your experience on that film was different than some of the other jobs you had?  What’s Channing Tatum really like (and is he as adorable in person as he is on the big screen)?  🙂
Yes, everyone was adorable! 😉 Ha Ha. As you can appreciate,  I am contracted  not to speak about the film until after its release, so it is hard to be specific. However, I was confronted with some exciting new challenges and the three months were definitely filled with lots of research, problem solving, creativity and fun! This was perhaps the biggest production that I have worked on to date, for that length of time. It was an amazing experience – can’t wait to see it – released July 2014!!
3.  What are some of the most common problems you see among actors who haven’t had movement training?

I think the most common problem among actors who haven’t had any movement training is the fact that they don’t realise or think that they need any training. Its like with everything – until you delve into a topic orpractice, you don’t realise what you don’t know and what’s out there to help you in your chosen craft. In my opinion actors without movement training are often quite unaware of the power of their body as a tool. I see many actors often adopting cliche gestures and postures which are contrived as opposed to organic and free. You really do notice those actors who are aware of their body and free from tensions, habits and they are generally much more engaging to watch.

4.  How does movement training help actors to incorporate their characters?

We all move differently, we all stand differently and behave in different ways, understanding the body and movement in more detail allows us to discover more readily these subtle and powerful differences – which may have been overlooked had one had no training or at least had the space to explore and discover. If a character has a certain illness or condition or are in a particular emotional state, it is great to consider the body in terms of this and how we can truthfully convey the appropriate storytelling through our physicality as well as intention and voice.

5.  What are three things actors can take away with them after attending one of your workshops?

-Understanding yourself through your body is not only important, but liberating and fun!
-Have some tools which enable you to make some quick physical character decisions, especially when in a casting.
-To get a deeper understanding of what you may need to personally work on -if you want to continue on your movement journey.
-To understand that we are all different and the body tells a powerful story, understanding why we can’t move in a certain way is just as important as being able to move in a certain way.

 

Thank you, Sarah!  Sarah’s 2 Day workshop is in October on the 19th and 20.

Annette Bening Says…

by Acting AdviceActing QuotesActing Techniques

So many of today’s films have tons of technology.  This can be extremely cost efficient (for instance when you use a blue or green screen to put you on the moon or any other exotic location) but it also means that more and more, everything is ruled by technology which puts huge demands on an actor’s concentration.  Annette Bening says “You have to be ready when they are”.  But how you get  yourself “there” before its time to shoot your scene will depend on what kind of actor you are.  Every one is different.  Some like to goof around with their co-stars while others need to stay in the “zone”, still another person my have to go off by themselves entirely.  The important thing is to know what works for you because when the moment comes you need to be ready to connect to everything that’s important: the other characters, your subtext and your objectives.

 “I remember hearing someone say, that good acting is more about taking off a mask than putting one on, and in movie acting, certainly that’s true. With the camera so close, you can see right down into your soul, hopefully. So being able to do that in a way is terrifying, and in another way, truly liberating. And I like that about it”.

Annette Bening

Do you have any special techniques that help you stay focused when technology is getting in your way?

Trusting the Actors

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Jonathan Demme, the Academy Award winning director of such iconic films as Silence of the Lambs, Beloved and Philadelphia has a simple philosophy when it comes to directing actors.

“I love putting the movie in the hands of the actors.  I am so in awe of what they do”.

If you’d like to know more about why this fascinating director has such high regard for what actors do, (not all directors feel this way) then check out his interview at Lincoln Center from 2012.

Jonathan Demme

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To Improv or Not to Improv

by Acting AdviceActing QuotesActing Techniques

Some actor’s love improv and wouldn’t think of rehearsing a role without out incorporating it on at least some level into the backstory and or subtext of their character.  Personally, I think playing a scene “wrong,” meaning choosing an opposite subtext to what you think the script writer has written, can work beautifully and add an unexpected element of surprise and depth to a scene.  Other actor’s like Michael Richards, who played Kramer in Seinfeld says he would improvise physical business but never dialogue.

“Its my job to bring the character to the language”.

What do you think?  Do you use improve in your performances and if so, how?