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Being 'In The Moment:' Some Clues About How Actors Do This - The Secret Of Theatrical Space
Speaking generally and simplistically, novelty evokes arousal and attention, which facilitates the formation of long-term memory. Our perceptual systems in the brain are more active, because we are examining the event more attentively.
Beliefs, Success, and Happy Birthday to Me! - The Secret Of Theatrical Space
Today is my birthday.
I was worried about how I would feel -- often I don't acknowledge my birthday, but this is a significant birthday.
Long long ago, I wanted to be an actor. It was all I ever wanted to be, and I'm more convinced of that now than ever before.
So, why did I wait so long?
Acting: How to Think and Feel like the Character - The Secret Of Theatrical Space
If you want to know more, start with one of these two resources: The Actor Speaks and/or A Voice of Your Own or try to find a good teacher than understands Rodenburg's approach. If you live in New York City, one of the best teachers that understands Roden
Performance, Attention and Acing: Problems and Solutions - The Secret Of Theatrical Space
An unsung benefit has been that if someone is paying full attention to me, I have a much much easier time acting, i.e., they are really listening to me, taking me in. It's one critical way to really give to the other actor. I'm not sure why it makes it e
Acting: Attitude Knowledge = Sucess and Winning - The Secret Of Theatrical Space
"When is it all going to happen?" "How?! is it going to happen?" are not good questions -- they're not good questions because they cause you to focus on the wrong thing. Ask instead, How can I make it happen? What do I need to do to make it happen? And th
The Actor and the Play: What's your Job? - The Secret Of Theatrical Space
Our job is not to get in the way of the playwright's words. We take the word from the playwright to the populace. If you don't get in the way too much, the audience will understand exactly what the playwright wants them to know.
How to Get a Great Headshot: Inside The Casting Office With Jeff Mitchell - PodCast - The Secret Of Theatrical Space
A "bad" headshot is almost guaranteed to keep you from being called in (by casting directors) for projects. A "bad" headshot is the headshot that doesn't look like you, and according the Jeff Mitchell, most actors headshots do NOT look like them. By simpl
Political theatre: UJAMAA Theatre & Titus Walker Theater - The Secret Of Theatrical Space
We talked a bit about political and poetic theatre, and I told him, quite frankly, that I was suspicious of 'political theatre' because while I believed that "stories always have 'Truth,' 'Truths' do not necessarily have stories.'
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I met Mr. Walker, and when it became apparent there were no sides, I promptly told him I didn't have anything prepared. To my surprise, he invited me to just talk and he asked me questions about why I wanted to be an actor, why I was interested in being in this play. We talked a bit about political and poetic theatre, and I told him, quite frankly, that I was suspicious of 'political theatre' because while I believed that "stories always have 'Truth,' 'Truths' do not necessarily have stories.'
- chrisnyc on 2007-12-05
Charlton Heston (1924-2008): 'I can't remember a time when I didn't want to be an actor.' - The Secret Of Theatrical Space
Thank you Chuck! You did damn good up there, on the Boards and in the Lights.
Acting & how to play a scene by 'Playing the Solution'
Chekhov is great to work on because it's all to easy -- perhaps especially with Chekhov -- to play the "problem" rather than the "solution." Playing the "problem" means focusing on what the character doesn't want.
My mindset as an Actor and Business person - The Secret Of Theatrical Space
It's extremely important to know your type/product. Meaning if a CD, Agent or Manager ask you, "Who's getting your work?" What they are trying to find out is if you were auditioning for roles in the BIG leagues, which Actors are getting the roles that you
The Structure of Language, The Structure of Thought, Joseph Papp and How to Act. - The Secret Of Theatrical Space
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I think I definiately get what Papp was trying to say: Monologues and Soliloquies are Insight & Discovery, i.e., the "character" is figuring it out, thinking it all though as they go along, and the actor must to the same.
- chrisnyc on 2008-01-22
Attitude Is Everything, Failure Is Not An Option, Part II - The Secret Of Theatrical Space
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I am a firm believer in doing something productive everyday towards my career, shaking as many hands as possible, always maintain a professional positive attitude and understand that this is a business. I am the CEO of my own business and should always showcase myself in the best possible light.
- chrisnyc on 2008-01-16
Attitude Is Everything: Failure Is Not An Option
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Alan Nusaum, Founder and CEO of TVI Actors Studio, posted an article about how the beginning of an acting career is like a "start-up," and how a start-up is more likely to succeed if you commit to a "failure is not an option" mind set.
- chrisnyc on 2008-01-16
Rehearsal: The Value of
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I've both witnessed (as a stage manage) and experienced (as a actor) a rehearsal technique called "speed throughs," and in light of what I've been learning about rhythm and meaning, this technique comes off -- at best -- as weird and of limited value, or -- worse -- counter productive and a waste of time.
- chrisnyc on 2007-12-22
Oration, Recitation, Rhetoric, and How to Think your way through Text - The Secret Of Theatrical Space
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James Engell revived the study of rhetoric at Havard after a 60 year hiatus argues that a classical literary education is critical for today's communicators.
In a critically important class here in New York City, new actors are being taught a new respect for "the text," i.e., they're being taught to not skim over the text as they speak but to pay attention to the natural organization of language, to pay attention to and take in its rhythms in order to find out what the author or playwright really meant.
- chrisnyc on 2007-12-13
Don't Skim Over Text. The Organization of Language: From Rhythm to Meaning - The Secret Of Theatrical Space
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There is a tendency for inexperienced actors (like me) to make a decision about the character's attitude, or to make a decision about what the character is "feeling," as the character speaks the line. Sometimes this is called "making a choice."
Too often, however, this will result in "skimming" over the line quickly because the actor is focusing on what they they "think" is going on inside the character as they speak the line. This often changes the "meaning" of the line, substituting what the character is really doing for what the actor thinks the character is doing.
- chrisnyc on 2007-12-04
Letting Go -- No Fear - The Secret Of Theatrical Space
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I think "trying" to act, in some ways, is a way to insure that I do "act" because I'm afraid to hand control over to what I've been learning. That is, what if I let go, and -- I can't act? Or nothing happens? Or the wrong thing happens? "Trying" to act is the very definition of control -- when what I really need to be practicing is Trust.
- chrisnyc on 2007-12-01
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