In Character or Out of Your Mind?

As an actor over the years, I have worked with a several people that remain "in character" from the moment they arrive in the theatre, through getting their costume and make up on, as well asevery moment back stage waiting for a cue, and remain so until they are out of make up, and even out in the parking lot after the show. They will not even respond to their own name, only that of the character they are portraying. To many people outside of the acting world, it is assumed that this sort of stance represents the pinnacle of the acting experience. However, I dare to say here in this blog that this total immersion in most cases is the more neurotic, and not to mention less effective way of doing things.

That is not to say I frown on being very focused and contemplative in one's preparations for a performance. (I myself am like that.) If, however, not enough of your mind is allowed to remain aware that you are in fact giving performance you invite a sort of mental absence. You abdicate a portion of responsibility to pay attention to the performance as a whole. You risk giving up the all-important total control over everything you do on stage.

Any dedicated actor can of course be moved at times by the drama and nature of a scene they are in. Many "lose themselves in a role", and this is a good thing. Yet there is a far cry between losing one's self in a role, and experiencing (or seeking to experience) a total possession of mind body and soul.

I remember my former acting professor frequently spoke of the dangers of allowing this. He mentioned a performance of a play (though which I do not recall) during the 18th century, wherein the actors portrayed patients in an asylum. So psychotic were they in their dedication to"feeling crazy" that the actors veered off the script, began jumping into the audience, and started a small riot. Whether or not the story is based on fact, the lesson is clear; remain aware of what you are doing. Do not abdicate your grip on reality just for the sake of a part.

Feel moved on stage. Weep, or laugh. Experience the joy, the tragedy, the grit and the magic of the endless worlds and the unlimited different characters the stage can offer. Certainly, make your performance come alive. Just be sure it is you, the actor, which holds the final reign over your mental faculties. Your performance will be better if you leave the door open at least a crack, on reality.

Plus you avoid being arrested for inciting a public riot. Everyone wins.

Pondering...

I hope everyone enjoyed Christmas, and other holidays still in progress. Mine went quite well.

In a few weeks, the Apollo Civic Theatre, (where I saw Two from Galilee) will be holding auditions. Not for one of its plays, but for a community talent show. I have for the last week or so been pondering the notion of trying out for it. Not that I am worried about winning prizes and such. I just like performing for an audience.

The show is open to just about any kind of act, so long as it is family friendly. This includes singing acts wherein those singing have pre-recorded background music. It would be in this fashion that I would try out for a spot in the show. (I do not have a real band at my disposal.)

Though I could potentially create some kind of acting performance for this show, I do not think it would suit the format very well. I therefore determined that singing would be the best route for me. It is not acting in the strictest sense, but it would be performing. I have a decent singing voice, and have been in several musicals already.

Not to mention it would give me a chance to perform at the Apollo. I think it is good to spread one's influence to more than just one community theatre in any given area. Being in this show would give me a chance to sort of ease into performing at another theater, and getting a feel for its venue before being in an actual play over there.

So I am giving it some thought, though I cannot quite decide yet. It takes about an hour to get to the Apollo from here. I also have to keep the "family friendly" standard in mind. Not that I usually sing or listen to vulgar music. Yet if the family label is strict enough, a lot of the classic songs I would want to sing may be too colorful. (Mack the Knife, for example.) I will have a better feel once I talk specifically to those in charge about how strict the standards are.

It also all depends on what kind of songs I can find the background music for on a CD.

So that is one of the ideas I am currently kicking about in my mind. Naturally when I reach a decision, I'll publish it here.

Feed Me!

Last week I offered advice as to how to gracefully perform through forgetting one's line(s). A comment by Playmaker to that entry got me thinking.

She mentioned how often it seems to be the one who jumps to the rescue of a lost cast mate that comes off looking like they have made the mistake. I realized this is often true. While it perhaps cannot totally be avoided, I thought this week it would be appropriate to speak on the subject of how to maintain grace under fire when you are the one doing the covering.

How do you extend a helping hand to a confused cast mate, while allowing both them, and yourself, to save face?

The truth is, it is much easier to do when you are familiar not only with your own lines, but with those of your fellow actors. I am not referring only to your own personal cue line, either. I refer to the conversation being had by the characters, and such.

Now, a verbatim memorization of 100% of the script is not needed. (That may even be detrimental in some cases, but more on that at another time.) Nevertheless, absorbing the nature of the scene, its ebbs and flows, its rhythms, instead of just memorizing cold collections of words that you are personally responsible for will increase your chances of bailing someone out before they drown.

Every situation is different, of course. In general however, a person's brain is naturally built to more easily recall temporarily forgotten information when they are presented with a question. Therefore, if you know the whole scene well enough, you can feed the struggling person the line that is missing in the form of an ad-libbed question.

Missed line: "I don't think this is fair."
Your ad-lib: "What's wrong? You don't think this is fair?

Notice how being familiar with the other actor's line allowed the ad-lib to contain as much of the missed line as possible? This will make it even easier on the actor you are assisting. Experience tells me that 98% of the time, your cast mate's memory will be jogged very quickly in this fashion. (Not to mention it helps keep the performance as close to the script as possible, despite an honest mistake.)

If you know that something has been forgotten during a scene, and you think you can stay in character and smoothly help someone out, do so. Even if some awkwardness does result in your picking up a little slack, remember nothing is more awkward on stage than unplanned silence.

As a little sub-note to this entry, Merry Christmas to all who may celebrate it tomorrow. Happy Holidays of all kinds to everyone else.---Ty