The essentials of acting

TheAbsoluteBohemian

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What is acting?

Improvizing to create an effect on the audience. Improvization is the sum total of internalization, costume, gestures and postures and dialogues.
 

TheAbsoluteBohemian

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Internalizing the character is, more or less, becoming the character which is quite intensive and exhaustive in METHOD acting where the character to be portrayed is entirely different from the the person of the actor. Once the actor has become the character, he should EMOTE/EXHIBIT/PORTRAY by means of gestures and postures and dialogues.
 

TheAbsoluteBohemian

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Become skilled at exhibiting/portraying the nine basic emotions:


A: Anger, amazement and amusement
B: Beauty...in its impact.
C: Courage
D: Disgust


F: Fear
S: Sad
T: Tranquility
 

TheAbsoluteBohemian

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It is perfectly fine to become an actor first by learning how to overact and then by learning how to tone it down or how to moderate it.
 

TheAbsoluteBohemian

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Forget subtle acting unless you get to play a subtle character....but even in that scenario, METHOD acting will come into play. Not everyone has a subtle personality. However, avoid being too loud. Emote/Exhibit/Portray as per the requirements of the scene. Follow the instructions of the director in this respect.
 

TheAbsoluteBohemian

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Breaking down the script is quite important for the actor. The entire script is of great significance to the actor. The script is the Bible for the actor. He should read it five to ten times. He should make notes to capture the essence of the entire script. He should seek clarifications from the director. He should bring the absurdities to the notice of the director/scriptwriter.
 
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TheAbsoluteBohemian

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The script is to be the primary basis for the developing the character. The essence of the character has to come from the script. Even the use of IMAGINATION to develop the character has to be very consistent with the script.
 
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TheAbsoluteBohemian

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The actor must take as much INSPIRATION as possible for developing the CHARACTER, that is, he has to find a real person or real persons whose mannerisms etc. he can use as inputs. He can use all the mannerisms etc. of the same person as inputs or he can use different mannerisms etc. of different persons as inputs or he can use the mannerisms etc. of a group of persons as inputs. In fact, he may really, really put his imagination to proper use, as well. However, the SCRIPT has to be the overriding criterion, that is, the essence has to come from the script.
 
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TheAbsoluteBohemian

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Developing the biography/back story of the character is important for the actor. He must have as much understanding as possible of the entire journey of the character and his mindset. In general, the same is not 'readily' available from the script but it does exist in the form of hints and indications etc. etc. When no such hints and indications exist or are insufficient, the actor must make full use of his imagination to develop the biography/back story of the character. However, the biography/backstory so developed has to be fully consistent with the script.
 
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TheAbsoluteBohemian

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If the physical attributes of the character must be made visible to the audience, the actor must acquire them. However, the physical attributes of the character should not be made visible to the audience in a very loud, over the top way so as to avoid subduing other aspects of the performance of the actor.


If, and to what extent, a physical attribute of the character are to be made visible to the audience DEPEND entirely on the instructions on the director.
 
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TheAbsoluteBohemian

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When the actor is using INPUT(S) from a real life character, he should be as ACCURATE as possible because the more accurate he is, the greater is the impact on the audience.
 

TheAbsoluteBohemian

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The DIRECTOR is the GOD of the film. The film is entirely his 'vision' . Disagree, if you must, discuss, if you must but toe the line, in the end.
 
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TheAbsoluteBohemian

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The dialect used by the character depends not only on the place to which he belongs(regional dialect) but also on his social background (class dialect) as well as occupation (occupational dialect).
 

TheAbsoluteBohemian

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For example, among older European-American speakers in Charleston, South Carolina, the absence of r in words such as bear and court is associated with aristocratic, high-status groups (McDavid 1948) whereas in New York City the same pattern of r-lessness is associated with working-class, low-status groups (Labov 1966).
 

TheAbsoluteBohemian

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Well, know the script and know the demands of the script. The sole aim of all the improvization should be to do full justice to the character, and not to outperform/undercut a co-actor......and, of course, the actor must not DEVIATE from the script.
 
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TheAbsoluteBohemian

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Stardom is the MASK behind which an ACTOR, who has to bring characters grounded in reality to life, HIDES. Truly blessed are those who have a taste for TRUTH.
 
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TheAbsoluteBohemian

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Stardom is the MASK behind which an ACTOR, who has to bring characters grounded in reality to life, HIDES. Truly blessed are those who have a taste for TRUTH.
 
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