Every actor looks all his life for a part that will combine his talents with his personality. The Old Couple was mine. The plutonium I needed. It all started happening after that. - Walter Matthau
Nobody "becomes" a character. You can't act unless you are who you are. -- Marlon Brando
ID -- identification. Used in Method. Must read Spectator Pages first.
So, what do you think about Brando' statement?
The Idea of Identification
Instead of identification (ID) with the character think about racting to the character (Brecht). Distance
(through A-Effect) from your character.
Alienation from yourself in order to position your physical and psychological qualities as a material for creating the character. That's what we mean as relaxation and concentration. You have to step out of your Self in order to meet your new identity. Emotional memory means that character searches for similar self in your many selves.
Inner monologue, diary by the character = tool. Reincarnation or resurrection of character.
Training: departure from your habitual traits. Breaking down elements of your natural physicality: walk, hands, voice, etc.
You are your material! Struggle (conflict) with the material.
Again,
Actor = Creator + Medium
"Creator" is the one who helps (medium -- performer in actor) to connect with the character (especially -- the inner connection). Without this identification (ID), the audience won't be able to connect with you! Public react to the character (good acting), when the actor in within the character. The moment they lose identification with the character, you are in the fiels of bad acting. They see you "act"! The formula is simple: actor > character > spectator, not "actor -- spectator" (this is nothing but a lecture).
If you have no stuctured (actor's choices) ID for your character (interpretation), you can't have any freedom for live performance (improvisation).
Balance between the fixed and the freedom. First, second, third choice. If you don't have at least three, you are not ready to select. Go back and do your homework.
MASTER GESTURE; search in your own habitual movements!
[ a must ]
(voice)
ET: mister professor?
- Yes?
ET: Do you mean that while acting, I exist as TWO?
- Yes.
ET: Which one is more important?
- Both.
ET: Even, when I am completely Hamlet, I am still me?Could I do it?
- You can walk, talk and think at same time, right? The more identities -- the better. Three four, five, ten! As a character you should invision the addresses (persons) you are talking to, imaginary, from the past, even from the future! This is why you need to develop the Creator in you, the one who will provide the ideas for the Medium to perform.
ET: Did you say that this is Meyerhold's formula, sir?
* Remember "your favorite actor" 200 words in your journals? The secrets of stars is based on identification. Go back and take another look at what you wrote: what makes him/her so close? Reactions, emotions.
PS
FOKIN. To teach Stanislavsky's system as it was taught even 10 years ago is impossible. When the great ones pass away, there are always people who seek to make careers at their expense. They canonize the word and extinguish the spirit. [For Russians, Theater Is a Process of Constant Rediscovery, NYT December 2, 2001 By LAWRENCE SACHAROW]
Read the exploration of characters in WWWilde Forum!
Be personal. Your character has to become a person!
Find the most difficult moment in the play to identify with the character -- and work on it!
In order to identify, you have to UNDERSTAND your character's motivation. Only then your can work on yours (actor's motivation).
Homework
Remember, without finding this ID of the character, you can't play against it!
* Remember "your favorite actor" 200 words in your journals? The secrets of stars is based on identification. Go back and take another look at what you wrote: what makes him/her so close? Reactions, emotions.
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* All scripts and texts on this site are intended for educational purposes only! * my notebook THEATRE * 2008 blog
