Working on Text

Working on a play begins to give actors the foundation of working on any text they get. These are excerpts from my Script Analysis class at The Actor Lab in New York.

We're combining two exercises in this class. (1) Seeing someone 'on the street' and being able to make decisions about who they are, based on their behavio and (2) building an attitude towards them.

Making choices that really bring you to life seems to be a constant struggle. Maybe it's because we're relieved that we can come up with any choice, but the choices must be worth it. They can't be passive.

Actively building an attitude to your partner can open you up to the action of the scene.

We need to really be careful about the vocabulary of acting. There are concepts that keep working their way and it can dangerously lead actors to a kind of passivity that lessens the power of experiencing.

After I vent about the Broadway production of Death of a Salesman, where they yelled at the audience for three hours, we look at the necessity of not just making great choices, but believing them. Not just performing them.

Directors give performance or effect directions. It forces actors to play cliches. Figuring out the nature of a character trait or spine or personality frees an actor to play an action ... or an impulse ... that makes behavior more actable.

Last week I gave classes in Poland and it was extremely useful to have a fresh perspective on students who were slightly new to this way of working – and also affording an opportunity for actors to talk about their particular problems.

My student, JP, has been working on the Biff and Happy scene from Death of a Salesman. In this episode we work through a place where he was stuck with that feeling of "now I'm performing a monologue."

In coaching an actor this week, I was struck again by what feels obvious—and yet is so often missed: the actor must find a personal connection to the circumstances, or the character’s conflict never becomes a lived experience.