The actors greatest flaw is in how they manipulate their character inhibitions through anticipating or out perform what the other character is participating.
October 10th 2014
I have enveloped a kind of metaphysical approach in my acting ability. This I refer as an incredible look into, how I feel, in the moment I am acting a part. Living the part - is more important than living the moment. Feeling a moment is more important than living the part.
My understanding of acting has been accused of stealing the spotlight away from other actors, when nothing can be further from the truth. My aim is to empower the other actor, and whether or not I do, how do I react to what they are doing in the moment.
My philosophy is simple:
If you have a character which is suppose to be enacted in a specific way, the problem is 1- you cannot perform an action that the other actor is deliberately trying to convey 2- you have to wait to process the data that the moment is giving you without being manipulated.
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"If you have a character which is suppose to be enacted in a specific way, the problem is 1- you cannot perform (cancel) an action that the other actor is deliberately trying to convey 2- you have to wait to process the data that the moment is giving you without being manipulated." (MA2013)
My main objective in acting is that - (a) to match what the other actor is doing follows (b) you cannot think about what you WANT the other character's motives ARE (c) should they be detected.
The actors greatest flaw is in how they manipulate their character inhibitions through anticipating or out perform what the other character is participating.
Essentially you have two actors acting indifferent toward the other if you are not sensitive to each others needs not what "the scene" demands.
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I dedicate this entry to Reg Skene, my professor at the University of Winnipeg, during which I uncovered these ideas present. ---------------------
My understanding of acting has been accused of stealing the spotlight away from other actors, when nothing can be further from the truth. My aim is to empower the other actor, and whether or not I do, how do I react to what they are doing in the moment.
My philosophy is simple:
If you have a character which is suppose to be enacted in a specific way, the problem is 1- you cannot perform an action that the other actor is deliberately trying to convey 2- you have to wait to process the data that the moment is giving you without being manipulated.
================
"If you have a character which is suppose to be enacted in a specific way, the problem is 1- you cannot perform (cancel) an action that the other actor is deliberately trying to convey 2- you have to wait to process the data that the moment is giving you without being manipulated." (MA2013)
My main objective in acting is that - (a) to match what the other actor is doing follows (b) you cannot think about what you WANT the other character's motives ARE (c) should they be detected.
The actors greatest flaw is in how they manipulate their character inhibitions through anticipating or out perform what the other character is participating.
Essentially you have two actors acting indifferent toward the other if you are not sensitive to each others needs not what "the scene" demands.
----------------------------------------------------------------------------------
I dedicate this entry to Reg Skene, my professor at the University of Winnipeg, during which I uncovered these ideas present. ---------------------
The greatest flaw in all of acting is how to be in the moment, that as an actor, your ability to match in response, in other words to register the other persons emotional state and react purposefully.
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