This video features an exclusive interview with international casting director Tusse Lande, who has cast for blockbuster films like Skyfall, Sceptre, and The Millennium Trilogy, as well as popular series like Kalifat and Hamilton. Tusse shares valuable insights and tips on auditioning, such as how to prepare and what to expect in the audition room. She also discusses the importance of creating a standout “about me” video and how to best approach casting directors when out and about. Whether you’re a seasoned actor or just starting out, Tusse’s expert advice is a must-watch for anyone looking to break into the entertainment industry.
Creative strategies to finally keep your New Year’s Resolutions that are based on how your mind works to get you the results you want. It’s not the goal that the problem, it’s the system you have in place to achieve your goals.
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.
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!
I recently sat down with casting director Karl Schirnhofer whom I met last summer during the Munich Film Festival where “The Ordinaries,” a film he cast, was being shown. The Ordinaries is a satirically funny sci-fi allegory on social hierarchies where society is divided into leading roles, supporting roles, extras, and outtakes, and it blew my socks off. I highly recommend it.
Karl hails from the Netherlands but has called Berlin his home for almost 10 years now. He got his first taste of casting when, at twenty, he cut his teeth interning with casting director Liza Stutzky. Before that he worked as a production assistant at a film production house that specialized in commercials.
Q. So tell me, how did you get your start as a casting director?
I saw an announcement from the casting director, Ulrike Müller, saying she was looking for a casting assistant and I applied for the job. I spent four and a half years with Ulrike but could also work on my own projects. I was still with Ulrike when I cast, “The Ordinaries.” And then came the time for me to step out into the world on my own, and here I am.
Q. Nice. So that must have been fairly recent.
Honestly, I left Ulrike just about a month ago and now I can concentrate fully on my own projects.
Q. You come from Holland originally, right?
Exactly. I’m dutch but my father comes from Austria so I learned German phonetically. I don’t have a clue about German grammar. You can’t hear it when I make small mistakes when speaking but writing is another story.
Q. Right! I know exactly how you feel but luckily there are a few great software programs to correct lousy grammar.
Exactly!
Q. So what made you decide to work in Germany instead of Holland?
The film market in Germany is just a lot bigger than in Holland. And I just felt at home in Berlin. It made sense to stay. I mean I love Holland, it’s my home, but I came to Berlin when I was eight-teen and didn’t have much of a clue about how the world functioned. I’ve spent my entire adult life here- all of my adult experiences, the friendships that I’ve made and lost… they’re all in Berlin. It just seemed like the logical next step.
Q. So you started casting when you were what, twenty?
Not exactly. I was twenty when I interned with casting director, Liza Stutzky and, right after that I cast two short films on my own. One was thirty minutes and the other was ten minutes. And the thirty-minute film was shown at the Berlinale Perspective German Film. For me, that was a sign that I was on the right track. It was r success story.
But I still had a lot of questions… like how do I break into the casting business on my own? How can I earn enough money? Then I started working at the film production company and that was like being thrown in cold water. I mean, I wasn’t an intern and I had a lot of responsibilities, and a lot to learn — how do I adapt? How should I act in certain situations? But then again, I was doing mostly commercials and that’s a different kind of communication from films. I was surprised I even got the job, but it was good because it taught me a lot.
And then in 2018, I started with Ulrike. And with her, I got a real indepth look at how the casting side of the business works. I learned a lot about what a casting director actually does. Then a year later in 2019, I began casting my own things outside of my work with Ulrike, like “The Ordinaries”.
Then in 2020, I cast another film called, “We Might As Well Be Dead, and that’s when things really started to take off for me. And now this year, all the films that I worked on over the past few years are being shown to the public so now I get to reap the rewards from what I did. Now when someone asks me if I’ve got a film out, I can say, “yeah, that was in theaters, and this is now playing, and that will be coming out soon.”
Q. Having worked with several directors, is there any advice that you would say to a director that might be useful for an actor to know?
I can only speak for myself and how my castings go but for the most part, it’s, not just about the quality of a person’s acting. We generally start the casting process with a large pool of actors, that even sometimes includes non-actors. We then narrow it down to a much smaller circle of actors and invite them to audition. In some cases, we already know the actors well. I mean, we’re familiar with their work through their showreels or recommendations. It’s really a question of can the actor work with that particular director and vice versa.
There has to be an openness from both sides. But for the actor, it’s important to be open to the directors’ suggestions so that you show you can engage with the director and the other actors. Sometimes a director will have a very clear idea of the type of person they want in a particular role… of course you have to be prepared, but let yourself be open to hearing and reacting to what the director is asking of you because if you can’t do that during a casting then it’s not going to work during filming.
It’s being open to being guided. And at the same time, to have enough confidence to be able to add your own input. That’s actually super important. It’s all about balance. Go open into a casting, let yourself be guided [by the director], and when you feel like you’ve understood the director, you can make a few suggestions about things you’d like to try.
Q. That’s good, solid advice. That means you don’t work with self-tapes much then, right?
Sometimes I have to… because the person we want to audition isn’t available or they’re in another country. I prefer, like most people, live castings.
Sometimes when I’m casting a smaller role I’ll look at self-tapes first. It can’t hurt and there’s always the chance that someone will make a really great impression and that can be exciting.
But usually, if someone has piqued my interest with their self-tape then they’ll get a live call callback.
I find self-tapes very useful for the first part of the casting process. It’s really important that when someone does do a self-tape that they put everything into it. Do something – add movement. For example, when you’re auditioning to be a bartender, clean some glasses during your audition. Look for opportunities to do something – build action into the scene or monologue. That’s a huge help for the imagination. I recently had someone send me a self-tape. The scene was supposed to take place at a fairground and the actress acted her scene at the fair. She ended up shooting the scene that we wanted to shoot and that was a huge help. I can’t expect that from everyone. Let’s say this, we didn’t give her preference because she put so much effort into the scene but it was a big help. And you can always clean some glasses.
Q. Yes, that’s always the question, isn’t it? Every casting director is different. Some insist on no distractions – a grey background, natural light – definitely not a ring light. We don’t want to see a ring light reflected in your eyes. And others say, “Do something interesting. Something to make yourself stand out.”
I don’t think it has anything to do with standing out. It’s more about bringing the best audition. If the actor thinks that his best audition is just looking off-camera and speaking, then so be it. But that’s why it’s also really important to be able to see the body language of the actor. It’s what makes live castings better. You get to see everything. But you have to do what you feel comfortable doing. I mean, I’m not an actor.
Q. Let’s take England, for example. The Brits like their auditions to be in closeup, very still… everything should be expressed through the eyes.
I also prefer to have a little more “room” in my auditions. Often I’ll do two takes; one further away and one in closeup. But, I agree it’s essential to see how the body moves through the world. Plus, it’s often through movement that you find your character. Do any auditions come to mind where you were just blown away?
Yeah, but that had everything to do with the acting. The acting was just so good. Sometimes it happens even before the actor begins, right when they first walk in. It’s like an adrenaline kick! “There she is. She is the character that we’ve been looking for.”
I’ve actually been so moved at an audition that I’ve been brought to tears.” That hardly ever even happens to me when I watch a film. Whenever I felt truly blown away it was always because the acting was great and the actor perfectly matched the character we had in our heads. Wait, that’s not entirely true. Sometimes I’ve seen actors that blew me away but they just weren’t right for the part. That happens, too.
Q. Yeah, it’s more about the essence sometimes.
Exactly.
Q.Have you ever felt like an actor was perfect for a role but the director or producers disagreed?
Sort of. I mean, I had conducted auditions for a specific role where I thought a particular actor was just the best actor. The director agreed that he was the best but she felt that the other actor just exuded the essence of the role more. He was the character. In a way, we agreed.
I thought they were both amazing but in the end, it, comes down to nuance and it’s not my film. After I saw the finished film, I thought she had made the perfect choice. She was the one that had to transform what she saw in her head.
Q. Is there anything you think an actor specifically shouldn’t do at an audition?
Hard to say… naturally, some things come to mind but every director is different. What doesn’t work with one director might work great with another. I don’t have any big “no-gos.” Just be open as you go into every audition. Let things happen to you. And be open to input as well.
Q. Are you hoping to work more internationally?
Possibly… I have a system. During the week I only watch German productions and on the weekend, I open it up to international productions. Germany is and will be the place that I know the most about and put most of my efforts into. But, I recently saw 1899. The cast was so good and so international. It inspired me. It was like pouring gas into my motor.
I know a lot about casting productions in Germany but I want to expand my knowledge and be able to work throughout Europe. I’ve begun to take note of a lot of international actors for future reference. But still t, that’s more for the future. I’m just preparing myself so that when the opportunity arises, I’m ready for it.
Q. Speaking of international… You live in a highly cosmopolitan city. Berlin is crazy international. I’ve been in Europe a long time and seen it change so much from when I first got here. The borders have become porous – literally. Things from one country seep into the next. It’s easier for Europeans to live wherever they want in the EU, so they do. They bring their culture with them but they also pick up the culture of their adopted country. So while Europe becomes more international it also loses the things that made it unique. It’s a give-and-take
Yeah. That’s what impressed me so much about 1899. There were so many different languages. And I think that’s where we’re going. Before in American or English films, they would also play the roles of people not from those countries. But now, if a person is supposed to be Dutch then they’re going to find a Dutch actor to play that role. They’ll speak English when it makes sense but they’ll speak Dutch when they’re talking to another Dutch person.
Q. Absolutely. Netflix has changed the way we think about international productions – what we’re willing to accept.
Exactly.
Q. So what does the future look like for you? Are you going to stay in Germany
Actually, that question has become much more active in the last few weeks. If I’m looking into the far future I can definitely imagine working much more internationally. But by international, I mean Europa-wide.
Well, I look forward to seeing more of your work in the next few years. Thank you so much for taking the time to talk to me.
Connection isn’t about being perfect. It’s about showing up. Your desire to create is a gift and who are you to question the giver (whoever you believe that might be)? The giver didn’t say, after you take another class, lose ten pounds, or master whatever it is you think you need to master, then you can begin to show people your work. The gift has been given and you need to explore what it means to be its possessor right now.
Workshops are a natural way to stay sharp and make sure your skills are up to par when opportunity comes a callin’. Equally important though is watching other great performances. Obviously there’s mainstream film but don’t overlook what’s coming up on the indie side of the film world. There are some amazing sites dedicated to showcasing the bast in new film talent. Here is a list of the best websites to view independent short and feature films.
Subscription Services
Indiepixfilms.com: This site offers really high quality indie films to purchase as dvd’s or to order “on demand”. At 3.99 a movie, their prices are comparable with other on demand sites.
Indieflix.com: Indieflix offers a huge selection of films from shorts to full length features. They cater to the filmmaker as much as their viewers. For instance, filmmakers can join for free and while others can buy their service at a low monthly subscription rate that is packed with value. They have film curators (like Allison Willmore and Eric Kohn from Indiewire; two professional film critics) who weed out the best of the best.
Indiepixunlimited.com Is another subscription based service brought to you by The Los Angelos Times, Filmsnobbery, and Filmmaker. You can get your first month free. After that you pay $7.95 a month. This is another site where filmmakers can upload their film for consideration (payment is transparent and depends on how many views you get).
FREE
Filmnet.com is another social network for film freaks. The higher a films popularity the higher its ranking . They offer professional films, web series and music videos from independent filmmakers, artists and studios. Reviewing is done by critics and users and you can interact with other film fans and filmmakers on the community forum.
SnagFilms.com: is an ad supported social video viewing platform that offers films that offers viewers the chance to discover, view, and recommend their favourites to social media platforms like Facebook, twitter and google+. Viewing it is a snap online, via app, xbox or kindle, among other things. They are also film distributors who acquire the rights to film festival favourites. They have an extensive online library.
Unlike USA based services like Netflix and Hulu+, all of these services are available around the world.
In the HBO documentary, Casting By, the late casting director Marion Dougherty, talks about how it didn’t really matter to her if actors bombed auditions. Or sucked. Or weren’t great all the time. What mattered is that she saw something in them and knew that eventually there would be a role that would come along to match the essence of that particular person. She should know as she discovered all kinds of talent from Al Pacino and Jon Voight to Glenn Close and Diane Lane. All of these varied and different human beings whose careers she helped start certainly are originals. That’s the common denominator. (And also that she always trusted her gut about people.)
And it sort of raises the question . . . What is talent? Does everyone have it? What is “it”?
From a scientific standpoint; yes, we all possess innate, inner talent. We all have vast resources of potential and possibility within us waiting to be uncovered and utilized. The process for actors (and for all people, really) is about discovering, cultivating, nurturing, harnessing, and finally expressing that talent. And that takes work. Technique is simply a vehicle for letting your talent be expressed. Emotionally, instinctually, physically. And talent is simply how you do what you do.
Ultimately, it’s you.
Your approach, your style, your intuition, your physiology, your tendencies, your physicality, your hopes and fears, your blood and guts, your passion and pain. What you bring to a role is unlike anyone else. It doesn’t mean it’s necessarily better – but it is uniquely yours, because of the unique life that you are living. And that’s all you’ve got. Ever. This one life.
Talent, then, becomes about unapologetically bringing yourself to the work (and being shown how to do that). And the only way you’re going to do that and get there (besides having great casting directors ultimately see that quality) is by giving yourself permission. You simply have to stop doing it for other people. For acceptance. For someone to love you. Or get you. Or acknowledge you. Or validate you.
It’s tough because we live in a world where we’re constantly seeking validation through the external: Facebook acknowledgments, twitter mentions, casting callbacks and agency acceptance.
Michael Fassbinder had a watershed moment in his career when he finally decided that he was “good enough”.
He most certainly is.
And so are you.
You’re good enough to get the job and have an agent and be on a show and get paid for your work and have an amazing career. You’re good enough to lead by example and inspire others and tell your own unique story and trust that people will want to listen. You’re good enough to stop second-guessing everything or stop doubting yourself continuously or listen to the advice of hundreds of other people or take thousands of different classes feeling like you’re always in search of “something missing”. You’re good enough to be loved and be happy and have your dreams come true and not always feel like you have to have it all figured out and still be okay with being a continuous work-in-progress.
That’s talent. That’s good enough.
In fact . . . it’s outstanding.
Thanks to Anthony Meindl for this wonderful article. Please check out his website – its just filled with informative and inspiring articles like this one.
As Actors its important to train your imagination to be as active and creative as possible. Actors with rich imaginations are able to free associate and connect to their impulses which leads to much more interesting and unpredictable choices and it is possible to train your imagination to be even better than it already is. Here are two exercises that you can do to develop this all important tool. The first is one you can anytime and anywhere and it can be as detailed as you have time for.
Childhood Home
Sit down with your feet firmly planted on the ground and your hands on your thighs facing upwards then take a few deep breaths as you close your eyes and relax.
Next, picture the front door to your childhood home as if you were standing in front of it. What color is it? What’s it made of? What kind of handle does it have? Where is the doorbell or knocker? Is there a peephole? Once you’ve got the door solidly visualized expand your view outwards to take in what’s around the door; windows, bushes, plants, doormat, etc. Try and picture the front door in as much detail as possible. When it starts to feel real you can enter the house.
Once inside take a moment to acclimate yourself. Do you hear anything? Is there any particular smell in the air? What’s under your feet and how does it feel? Then, turn and face the wall on your left. What do you see? Study the wall from top to bottom taking in everything… architectural details, furniture, decorations then turn to the next wall and do it all over again. Repeat this until you have recalled as much detail as you can then move on to the next room.
Slowly move from room to room trying to recall more and more. If you only have time for one room or even one wall as your on your way to an audition, it will be time well spent training your imagination.
Free Association
The next exercise is a useful tool in training yourself to reach beyond obvious initial choices. Sit down with your feet firmly planted on the ground and your hands on your thighs facing upwards then take a few deep breaths as you close your eyes and relax.
Get yourself a timer, a pad of paper and a pen or pencil and a list of WORDS* then…
Sit down with your feet firmly planted on the ground and your hands on your thighs facing upwards then take a few deep breaths as you close your eyes and relax. Once you feel open and calm you can open your eyes and choose the first word on the list that jumps out at you.
Then set your time to about 5 minutes and GO! Let your mind wander as you start writing down what you think of. Once thought will lead to the next and with this exercise the most important thing is not to censor yourself.
Below is my free association starting with Rabbit Hole. I gave myself 3 minutes.
Rabbit hole, alice in wonderland, cheshire cat, mad hatter, off with her head!, queen of hearts, hat trick, slight of hand, stab in the heart with an ice pick, bleeding from the inside out, jail, heroin, dark, bathroom, alone, LSD, looking from the inside out, trapped, pimples, alone, desisto, gestalt therapy, curtain of hair, hiding, hitchhiking, hitchhikers guide to the galaxy, lollipops, planets, earth girls are easy, geena davis, thelma and louis, brad pitt, abs, cowboy hat, smile, white teeth, zadie, books that won prizes, india, castration, beggars, curry, pink, color, tattoos, henna, dots, long hair, crystal gail, country music, riding in the car from the airport, the smell of the ocean, highway 60, coastal clouds, beach, my husband, books, umbrella, seagulls, stealing food, a film I made, washington square park, new york, hot sidewalks, cooking eggs on hot sidewalks, my father telling us not to play in the pile of dirt made by the construction workers then getting caught with dirt in our shoes, spanking, my father’s face, my purple schwinn bike, tassels on bike handles, liza grossman, lafayette park, making elephant puppet at friend’s school, walking across the railway tracks, pheasants flying, my mother’s brown suit with the matching cape and hat with a pheasant’s feather, custody fight, Huntington woods, the exorcist…
* Here’s a list of words you can use to get you started if your mind is drawing a blank. Feel free to add to it change it or pitch it in the garbage. The idea is to just pick one word and see where it takes you.
Movement Psychology is based on the concept and teachings of Rudolf Laban, who theorized that every movement is controlled and directed by sub-conscious states which are either direct or open, obscure or obfuscated or conflicted; and conversely, that movement itself can evoke a desired motion. This concept can be extremely useful to the actor looking to find outward expression of his character’s inner state and can add subtle yet complex layers to the characterization.
The concept of movement changing emotion and attitude, or attitude and emotion changing movement is not new; but movement psychology reaches the core of the concept. I’m just covering some to of the basic concepts here though in October Sarah Perry will go much deeper into the method in her workshop Movement for Actors.
To apply Movement Psychology you first need to understand Laban’s eight Working Actions.
WORKING ACTIONS
PUNCHING
PRESSING
SLASHING
WRINGING
DABBING
GLIDING
FLICKING
FLOATING
Laban held these as the eight basic actions from which all conscientious movement is formed; and, the degree to which they are executed or expressed depends on the degree to which they are combined with Inner Attitudes and our Mental Factors, Motion Factors and Inner Participations. Each Working Action is a composite of the Motion Factors and is motivated by psychological concepts or Mental Factors which are expressed in movements.
MOTION FACTORS
WEIGHT
SPACE
TIME
FLOW
Motion is said to be comprised of the above four Factors which can be scrutinize or “analyzed” as expressions of the four Mental Factors SENSING, THINKING, INTUITING and FEELING. Each Motion Factor is comprised of two elements which either conform with or contend against other factors.
Weight is the impact of receiving or transmitting sensory stimuli. It has the Inner Participation, Intending, and consists of the Yielding Element, Light; the, Contending Element, Strong; and the Negative, Heavy. Weight is the forceful Motion Factor that expresses the MENTAL FACTOR, SENSING and of the INNER PARTICIPATION, INTENDING. The Inner Quest for Sensing is, “What?”LIGHT INTENDING is a light sensory physical exertion which does not involve tightening fundamental body muscles.STRONG INTENDING is a sensory physical firmness in any part of the body that emanates from tightening fundamental body muscles.
Space is a reflective thoughtful movement in one or more planes or spheres “spaces”. It is the kinetic Motion Factor that expresses the MENTAL FACTOR, THINKING and the INNER PARTICIPATION, ATTENDING. It has the Yielding Element, Flexible, the Contending Element, Direct, and the Negative, Adrift. The Inner Quest for Sensing is, Where?FLEXIBLE ATTENDING is a reflective indirect movement that is both concave and convex in two or more planes of SPACE. DIRECT ATTENDING is an intuitive movement, that traverses either a straight line or a flat curve in a single plane of SPACE.
Time is the intuitive sensitivity of the relation between the past and future. It is the rhythmic MOTION FACTOR that expresses the MENTAL FACTOR, INTUITING and the INNER PARTICIPATION, DECIDING. It has the Yielding Element, Sustained, the Contending Element, Quick, and the Negative, Indecisive. The Inner Quest for Sensing is, When?SUSTAINED DECIDING is an intuitive clinging to the past. QUICK DECIDING is an intuitive urge into the future.
Flow is the feeling of the resistance to flow of movement. It is the recurring MOTION FACTOR that expresses the MENTAL FACTOR, FEELING and the INNER PARTICIPATION, ADAPTING. It has the Yielding Element, Free, the Contending Element, Bound, and the Negative, “Irrelating”. FREE ADAPTIVE is a feeling of freely emitting smoothness of movement.BOUND ADAPTING is a feeling of stiffness and lacking ease or grace of movement.
NEGATIVES
HEAVY
ADRIFT
INDECISIVE
IRRELATING“HEAVY (INTENDING)
The negatively neutral and impotent quality of WEIGHT is heavy in which the interplay of LIGHT and STRONG (INTENDING) is canceled by an inertia which negates the receiving and transmitting intentions of SENSING.
ADRIFT (ATTENDING) The negatively neutral quality of SPACE, in which the interplay of FLEXIBLE and DIRBCT (ATTENDING) is cancelled by a disorientation which negates the reflective and attending aspects of THINKING.
INDECISIVE (DECIDING) The negatively neutral dream quality of TIME, in which the interplay of SUSTAINED and QUICK (DECIDING) is cancelled by a timelessness which negates the relating of past, present and future in the decision of INTUITING.
IRRELATING (ADAPTING) The negatively neutral and frozen quality of FLOW, in which the interplay of FREE and BOUND (ADAPTING) is cancelled by an emotional fixative which negates the extroverted and introverted aspects of the ADAPTING and RELATING of FEELING.” (The above were in quotes from unpublished notes, believed to be (or attributed to) Rudolf Laban)
MENTAL FACTORS
SENSING
THINKING
INTUITING
FEELING
The Mental Factors are in turn expressed by the degree to which the four Motion Factors are utilized.
Sensing is the perception by five senses, sight, hearing, smell, taste and touching. These are in turn expressed in movement as SPACE – LIGHT or STRONG.
Thinking is the process of idea creation through intellectual insightful reasoning, and is expressed in movements as SPACE – FLEXIBLE or DIRECT
Intuiting is the mental apprehension of the inner nature of things without reasoning, and is expressed in movement as TIME – SUSTAINED or QUICK
Feeling is the emotion of attraction or pleasure; or of aversion or disapproval, and is expressed in movement as FLOW – FREE or BOUND
As you can see, the psychology of movement as described by Rudolph Laban is an extremely complicated, in-depth subject that I couldn’t possibly begin to address fully here. If you’re interested in learning more about Laban’s method, try Actor Training the Laban Way by Barbara Adrian.
“I like to rehearse, to sniff around, get comfortable. Also get an idea of what each scene is supposed to accomplish. But I’m a money actor, I can’t do it in my living room, can’t do it till it’s time to do it. But it’s important to make sure each scene accomplishes something, otherwise it should come out.”
