Looking at the year of work in our acting classes, before designing a new year with a new concept.

The film “Synecdoche” was the answer to the following questions: How do I further develop and have the Actors apply their imagination? How do I get them to boldly MAKE UP THEIR OWN STORY? How do I get them to deeply believe the story they make up? And how do they learn to work on material that is not terribly realistic? Now I had my first approach.

The long term goal for this imaginative work was to facilitate the Actor to be more physical both in action, physicality, and in embodying large physically different roles. This was provoked by Sean Penn’s performance as “Milk”.

So starting with “Synecdoche,” I began talking about working on this highly irrational story. For example, in one scene, a real estate agent is selling a burning house and someone actually buys it. Therein lies the strength and importance of an imaginative story and a strong account of where you’re coming from. I added that we were to find the rationality in the irrational as every character has theirs, however far reaching. Then I added tone. What is the tone of the material? The style? And then quantify your responses, so that your response is spontaneous.  Then look at if it has to be heightened or lessened according to Style, and tone. This was put into their first set up of questions and things to think about.

The second Set Up is:

1) What is going on in the scene? (not the story)  It is actually what is going on in active terms for your
character. (i.e., I’m starting life over again by moving into my new apartment.)

2) What’s my inquiry? What can I do about this? How will I do this?

3) What is the downside? What if I can’t?

4) What’s the upside/the prize when I do?

5) What got me into this situation?

Onto creating a repeatable Physical Progression:  This gives the actor a physical handle on the scene. Also it teaches how you get from here to there creatively; that is from marks to marks and blocking to blocking.

1)    First be very specific about the underlying active time such as: Arrival, settling in.
You will create your repeatable physical progression for that.

2)    What is the theme? Find one that you really relate to and are fired up to talk about.
(You will learn to speak the theme in a way that is relevant to you)
And so it becomes your personal band wagon. I prefer working this on Solo Performance pieces, as the actor is only beholden to themselves and the structure of the piece for movement.

Again a full list for your Set Up: where are you? Not random, a very specific time such as the beginning or end of lunch.

Another aspect to include is the audience: Making contact and having to tell them all of this.  What song and dance does this provoke?  Add some of that to heighten the performance aspect. This can also include walking in an extended way, sounds etc.

Advanced State as preconditioning: State implies your feelings on top of deep pure emotions. It’s how we socialize. Examples of State are: lonely, anxious, thrilled, confused, absorbed, annoyed, disturbed.

Preconditioning for Advanced State:

What state are you starting from right now?

Use the energy of that State for your Character. What State are they in at the top of the scene? Where are you coming from? Is it unrelated to the scene…are you preparing for a visit? Are you taking a bath not expecting what happens next? Are you pitched high for the scene? Let that add to your state.

PHYSICAL LOGISTICS – Are you running, sitting in a limo, in a hot crowded subway?  Allow this too to alter and add to your state.

ATMOSPHERE – Does the atmosphere of the place of the scene make you feel open and alive?  Is it closed and stuffy?  Or open and expansive?  Add that to your State.

Physical Choices – Are you Hungry, drunk, abused, elated, just broke off a relationship, just met a great date???? Raining? Snowing?

CHOICES – For example, in the movie, Almost Famous, the daughter can make a choice to be forgiving of her mom and slowly build towards a fight…Perhaps it’s close to Mother’s Day or her birthday. Or her preconditioning thoughts can be, “One more word and I’ll freak out…”

We then worked on:

REHEARSAL TECHNIQUE – Continues working on the material. (Layering) Everyone worked at the same time, using an area of the room.

Begin by clarifying what it’s about for you. (Your character) I’m moving to a new stage in a relationship…I’m moving to a new location.

Play Ball—close eyes and imagine a toss game of ball…throw, catch, throw, catch…then do it with the words.
Listen, associate, respond, land.

INTENTION
ACTION
TONE
STYLE
QUANTIFY
CHANGES
EXPOSITION, CONFLICT, CRISIS, CLIMAX, CONCLUSION.

Each time we revisit Character, it is through a different lens.

CHARACTER
Character: thus far has been focused on reprogramming your Psyche, Altering the proportions of your qualities and traits, Identity (major identity and your individual signature). Now adding the larger Physically Transformative Character’s.

When you challenge your Wall, you grow/transform. Same with PTC.  They extend you past your comfort zone, therefore opening channels – new experiences, of information, and creativity.

Step 1 is to transform your body.
Step 2 is to link up the physical and psychological. (Emotions also but we will focus on that later)

EXERCISE
1 – Eyes closed. Describe your character physically and feel that in your body. Talk about their life…what’s going on? What’s their world view?

QUESTIONS: To know my character better, what books do I have to read/newspapers, magazines? What streets would I have to be familiar with? What occupation would I have to be able to do? What films would I have to see? What beliefs would I have? What would disturb me? What fears would I have? What would my confidence level need to be?

ON FEET
Talk about the above starting with description of body. Walk around finding where their movement comes from…changes in register of voice, how they sit. Do Mono. Write backstory as it pertains to the actions in the scene, also to character motivation.  Reality talk as the Character weaving the backstory as it applies to their current life.

Part 2 CONCEPT…Example can be deep as Sally Fields’ role as Mom in “Brothers and Sisters.” Past life was a confederate soldier and couldn’t get back to save her family.

CURRENT DRIVE – Wants to keep her family together, safe and sound.

CHALLENGE – Grown up, want their own life, and don’t necessarily get along with everyone. (including yourself)

CONCEPT – Joan of Arc was Napoleon in a previous life.

Part 3

CURRENT DRIVE – To win her battle

CHALLENGE – She’s a woman

Concept is about the character, and also how you play the material.

You can use a simpler Image…An old comedienne, who still wants the limelight and who is past it.

Bar tough gal: To get out to the bars and live it up, married, has to work and make money.

After all of the large stretch work, we brought what was learned into Material and characters much closer and realistic.

BEHAVIORAL ACTION – can be planned. Put the State you’re in into an action…keep being physical with it.

WHAT AM I RESPONDING TO-
Is it your control? Your intimidation? Your confronting? Your questioning/interrogating? Respond and take it into a behavioral action.

This was a big year of learning, getting work and having the opportunity to use all of this at auditions and jobs.

Moving forward for 2010 we will be working on emotions in a grounded way. Also we’ll work on whole scripts, appearing many times within. Again, from very large extended realities, psyches, and emotions to the more subtle and realistic.

It is an absolute passion for me to create a new focus and concept each year and to help people develop, transform and be the best they can be in every given moment.

Life is long, live it well,

~ Sande