Truth is typically described as human beings ideas and activities that aim to represent reality or otherwise correspond to it. Lending itself to peoples beliefs, propositions, and declarations. The concept of truth can be discussed and debated in many contexts however its most simplest definition truth is described as the opposition of falsity. So, if as artists our number one priority is to create a truthful experience for our audiences then how can we discover “Truth In Performance”? Is it even possible to give an informative definition? If so, what is the criteria? What role does truth play in constituting our knowledge? And is truth absolute, or is it merely relative to one's perspective? How can we build performances that not only captures audience but leave them hungry for another experience?
For our audiences, Truth in the “Art of acting”, by nature is normally assumed. Although for the most part is actually the subject of discussion. Individuals share subjective or collaborative views from each performance, depending on the relatability and significance of experience. An artists intention should always be based around offering a truthful experience for their audience and a sense of commitment. Influencing how truthful a role may seem. If we don’t believe our performance, neither will our audience. Truth means a sense of availability. How available are you to the depth of a role? Creating a resonant performance means learning to inhabit emotional states that relate directly to our character’s choices rather than our judgement of their emotional state. Even if given circumstances surrounding the story seem alien to us. An example of this is with Uta Hagen’s method of substitution. You may not have murdered someone, however you may have felt the power of rage where the idea of murder could feel possible. All people are inherently capable of light and dark emotions. We need a spiritual concentration on emotions which do not exist at the time, rather are invented or imagined. Understanding this, grounds a performance regardless of given circumstance.
Have you ever noticed that some performers seem more accessible on the stage or screen? As the audience member a performance can feel so warm and real that if you close your eyes, you feel like you could taste or touch the experience? To cultivate this quality is to send your intention and energy out in its strongest form. Requiring the artist to truly fill the space with both presence and sound. Just like meditation or Yoga, engage vocal warm-ups or exercises that create resonance and send sound to reach your co-performers on either side of the fourth wall. Stretch your body and open the fronts of your shoulders and upper chest, and therefore your heart, actively engaging the six portals of energy. Set and be clear on your intentions, send them out to all areas of the theatre or the set. Intention goes a long way toward believability. Ironically, an overemphasis on emotion in training means actors may create an inward-focused performance, and therefore a sense of distance. If you pull focus or ad-lib, you can elicit reactions and in turn take audiences out of the world you are creating. Awareness around wanting the audience to come with you on your character’s journey is key to reshaping your entire approach.
Acting is the life of the human soul receiving its birth through art! It’s a process where multiple truths are possible. Whether it be Film, Television or Theatre the difference in mediums isn’t one of big versus small; it’s the difference of where you look for and discover your TRUTH. A characters story begins in the middle, not the beginning. Becoming a negotiation that requires the artist to embrace a broad palette of tactics and techniques. It's a dance not a fight. Fighting only requires attack and defence, it does not demonstrate an actor with a soul capable of living through any situation demanded by authors or writers. It’s not comfortable to play great parts. It takes work! The work consists in the development of complete possession of all five senses in variable imaginable situations; development of a memory of feeling, memory of inspiration or penetration, memory of imagination and visual memory.
Let's do the WORK!
a) Focus and Committment
b) Memory of Emotion vs Playing the Emotion
c) Dramatic Action
d) Characterisation vs Stereotype
e) Observation and Perecpetion
f) Rhythm & Pace
a) Energetic Systems
b) The Artistic Self Vs The Daily Self.
c) Outside In - Letting the character lead.
d) Inside Out - Tuning into the actors inner facets
a) Physical Body, Movement & Using the space.
b) Dialogue, Projection & The Voice
AAFTA and DIVERSITY ENTERTAINMENT
“OUR RIGHTFUL PLACE”
December 7th-19th 2020 (Sydney, Melbourne PENDING COVID)
AAFTA Actors will “Take their RIGHTFUL PLACE on this STAGE”
10.30AM - 1.00PM
OFFICIAL STARTING CLASS AUGUST 8TH AEST
GUEST SPEAKERS WILL ALSO BE INCLUDED.
THESE CLASSES ARE NOT COMPULSORY BUT AVAILABLE TO ALL STUDENTS.
ALL CLASSES ARE RECORDED.
PAYMENT PLANS AVAILABLE.