ActingActing

What is acting?What is acting?

Impersonation - pretenseImpersonation - pretense Embodiment (including voice)Embodiment (including voice) ““the aspect of filmmaking over which the aspect of filmmaking over which

directors have the least control” directors have the least control” (196)(196)

Seemingly intuitive or natural, but Seemingly intuitive or natural, but actually calculated and contrivedactually calculated and contrived

How do we distinguish How do we distinguish between the actor between the actor

and the acting?and the acting?

Four key types of actors:Four key types of actors:

Actors who maintain a single persona Actors who maintain a single persona from role to role (from role to role (personality or typepersonality or type actors)actors)

Actors who deliberately thwart Actors who deliberately thwart expectations (actors cast expectations (actors cast against typeagainst type))

Actors who are different in every role Actors who are different in every role ((chameleon actorschameleon actors))

Cameo actorsCameo actors – those from other – those from other professions who add verisimilitudeprofessions who add verisimilitude

The more famous or The more famous or ‘exposed’ an actor is, ‘exposed’ an actor is, the harder the actor the harder the actor

must work to be seen must work to be seen as anything but a as anything but a personality actor.personality actor.

In In Courage Under FireCourage Under Fire, casting , casting helped shape the audience’s helped shape the audience’s expectations. How would you expectations. How would you categorize these actors in the categorize these actors in the

film?film? Denzel WashingtonDenzel Washington Meg RyanMeg Ryan Lou Diamond PhillipsLou Diamond Phillips Matt DamonMatt Damon

A A personality actorpersonality actor. . .. . .

Harrison FordHarrison Ford ““Everyman”Everyman” Embattled heroEmbattled hero Tough lonerTough loner Action hero Action hero

manquémanqué

Personality actors are often Personality actors are often box-office favorites, but not box-office favorites, but not

well-regarded for their acting well-regarded for their acting ability.ability.

Clint EastwoodClint Eastwood Tom CruiseTom Cruise Angelina JolieAngelina Jolie Jennifer AnistonJennifer Aniston Keira KnightleyKeira Knightley Jack NicholsonJack Nicholson Seth RogenSeth Rogen

An actor An actor cast against typecast against type

Charlize TheronCharlize Theron Usually cast as a Usually cast as a

glamorous blonde glamorous blonde beautybeauty

In In MonsterMonster (dir. (dir. Patty Jenkins, Patty Jenkins, 2003) she was cast 2003) she was cast as an unattractive, as an unattractive, street-walking street-walking prostitute and prostitute and serial murdererserial murderer

Chameleons Chameleons are considered are considered the most accomplished actors the most accomplished actors because their work requires because their work requires

craft. They are often ordinary-craft. They are often ordinary-looking.looking.

Robert de NiroRobert de Niro Gene HackmanGene Hackman Philip Michael HoffmanPhilip Michael Hoffman Laura LinneyLaura Linney Edward NortonEdward Norton Nicole KidmanNicole Kidman William H. MacyWilliam H. Macy

A A chameleonchameleon actor. . . actor. . .

Johnny DeppJohnny Depp PiratePirate Historical figureHistorical figure Fantasy figureFantasy figure Action heroAction hero Mentally Mentally

unbalanced brotherunbalanced brother Drug kingpinDrug kingpin

A A cameocameo actor. . . actor. . .

This shot from This shot from Forrest GumpForrest Gump includes John F. Kennedy, includes John F. Kennedy, who died three decades before the movie was made.who died three decades before the movie was made.

Sometimes a living personSometimes a living person Sometimes appears as self – or as someone elseSometimes appears as self – or as someone else May or may not be creditedMay or may not be credited Sometimes a historical figure (with special effects)Sometimes a historical figure (with special effects)

Screen acting has Screen acting has changed over time.changed over time.

The first film actors The first film actors used stage used stage techniques, which techniques, which were often broader were often broader and more and more exaggerated than exaggerated than we accept today we accept today (“canned theatre”; (“canned theatre”; Sarah Bernhardt at Sarah Bernhardt at right).right).

Watch a short Watch a short video of “The Great of “The Great Sarah” as Queen Sarah” as Queen Elizabeth IElizabeth I

Acting gradually became more Acting gradually became more naturalistic as films evolved.naturalistic as films evolved.

Acting became Acting became more naturalistic more naturalistic during the silent-during the silent-film period (Lillian film period (Lillian Gish at right; Gish at right; video from from Broken Broken BlossomsBlossoms))

The development of sound had The development of sound had a profound effect on film a profound effect on film

acting.acting. Early cameras were Early cameras were

noisy and had to be noisy and had to be encased in bulky encased in bulky soundproof “blimps” soundproof “blimps” (see box around (see box around camera at right)camera at right)

This restricted the This restricted the area within which area within which actors were able to actors were able to movemove

Singin’ in the RainSingin’ in the Rain dramatizes dramatizes the transition from silent films the transition from silent films to talkies – and the casualties.to talkies – and the casualties.

It celebrates a median point in film – It celebrates a median point in film – between b/w silent films, the technicolor between b/w silent films, the technicolor

revolution/studio system, and present-day revolution/studio system, and present-day naturalistic films.naturalistic films.

To get a sense of what silent movies To get a sense of what silent movies are like, you can watch an early are like, you can watch an early

silent movie that is now in the public silent movie that is now in the public domain.domain.

Charlie Chaplin in “The Gold Rush”

In the classical studio era,In the classical studio era, movie stars became movie stars became

prominentprominent The movie star embodiedThe movie star embodied

– A studio-created image, because the A studio-created image, because the actor was “owned” by the studio who actor was “owned” by the studio who had them under contracthad them under contract

– The social and cultural assumptions of The social and cultural assumptions of the periodthe period

– A paradoxical combination of A paradoxical combination of ordinariness and god-like fame and ordinariness and god-like fame and powerpower

The studio/star system The studio/star system (1930s-1960s)(1930s-1960s)

Gave studios complete Gave studios complete control over actors, the control over actors, the power to rename, to power to rename, to define “type,” to define “type,” to determine roles, and to determine roles, and to refuse parts.refuse parts.

Dominated the movie Dominated the movie industry until it industry until it collapsed in the 1960s, collapsed in the 1960s, when movie stars when movie stars became “free agents” became “free agents” with more with more independence, but less independence, but less job securityjob security

Studio acting was succeeded Studio acting was succeeded by by method actingmethod acting in the 1960s. in the 1960s.

Developed by Konstantin Stanislavsky Developed by Konstantin Stanislavsky (director of Moscow Art Theatre, 1890s (director of Moscow Art Theatre, 1890s onwards)onwards)

Influenced the silent directors of the 1920s in Influenced the silent directors of the 1920s in Russia and USRussia and US

Pudovkin’s book Pudovkin’s book Film ActingFilm Acting (1935) codified (1935) codified Stanislavsky’s ideas.Stanislavsky’s ideas.

Method acting was later taught by Stella Adler, Method acting was later taught by Stella Adler, a famous acting teacher at NYC’s Actor’s a famous acting teacher at NYC’s Actor’s Studio.Studio.

AssignmentAssignment

-Students will pick a monologue-Students will pick a monologue -It will need to be a minute in length-It will need to be a minute in length -They will begin memorizing-They will begin memorizing -They will present it in 4 days-They will present it in 4 days -They will need to hold on to said -They will need to hold on to said

monologuemonologue

Constantine

Stanislavski

Constantine Stanislavski

• Born in Moscow, Russia in 1863. • An actor and moved on to become a director

and teacher.• He developed a new approach to acting. • It took years of experimenting to get to what

is now known as the Stanislavski System.

Stanislavski's System• As an actor, Stanislavski saw a

lot of bad acting - what he termed as artificial.

• He wanted actors to work on characters from the inside (instead of the outside) and thus create more of a "true" or "real" (i.e. not artificial) performance.

What is it?

• The Stanislavski System is an intense character development process that strives to make a performance "real" and not artificial by:

• 1. Bringing an actor's experiences into the role.

• 2. Expanding an actor's imaginations.

Cont’…• Stanislavski believed that in order

to make a character true, the character must be approached from the inside. That means drawing on the real inside life of the actor, most specifically drawing on memories. The actor also has to create the inside life of the character: the character has to have inner thought, back story, beliefs, and so on, just as a real person does. When the actor answers questions about the character, they should speak in the first person. "I am..." "I want..."

5 ELEMENTS OF ACTOR PREPARTATION

RELAXATION

Learning to relax the muscles and eliminate physical tension while

performing.

CONCENTRATION

Learning to think like an actor and to respond to one’s own imagination.

OBSERVATIONDiscovering the sensory base of the work: learning to memorize

and recall sensations, often called “sense memory” and /or

“affective memory”; learning to work from a small sensation and

expand it, a technique Stanislavski called “spheres of

attention”.

COMMUNICATION

Developing the ability to interact with other

performers spontaneously, and with an audience, without violating the

world of the play.

IMAGINATION• The more fertile the actor’s

imagination, the more interesting would be the choices made in terms of objectives, physical action and creating the given circumstances around the character.

• There is no such thing as actually on the stage. Art is a product of the imagination, as the work of a dramatist should be. The aim of the actor should be to use his technique to turn the play into a theatrical reality. In this process the imagination plays by far the greatest part.

The System

To achieve a normal living state….an actor has to be

a) Physically free, in control of free musclesb) Attention must be alertc) Must be able to listen & observe on stage as in real

life, be in contact with the person playing opposite him/her

d) Must believe in everything that is happening on stage that is related to the play

(1) ACTION

• Everything that happens on the stage must happen for a PURPOSE

• On stage you must act WITH A PURPOSE

(2) The MAGIC “IF”• In working on a role you should ask yourself; What would I do

if I was in this situation?” The magic “if” acts as a lever, lifting us from the plane of reality into the world where it is possible to create the world of imagination

• “AS IF” doesn’t ask you to believe something is real you all know it isn’t – You simply act AS IF you were in those circumstances

• AS IF LEADS US TO ACTION

“What would happen if”...........

(3) GIVEN CIRCUMSTANCES

• The “MAGIC IF” can only be sustained in the context of “THE GIVEN CIRCUMSTANCES”

• “The Given Circumstances” are the basis for an actor & his/her role, created by the playwright, director, designer & form the context for an actor to ask “WHAT IF?”

(4) IMAGINATION• The Actor needs imagination • Before you speak any lines or do anything you need to know • WHO you are• WHERE you came from • WHY you are there• WHAT you want WHAT other people say about you

• Without this knowledge, you will be acting without your imagination………

(5) CIRCLES OF ATTENTION

• Designed to help actors relax & focus on stage• Actor’s attention on stage can be ‘scattered’ –

too aware of the audience • “Public Solitude”3 Different Circles

(6) UNITS

• Actors must break down a play into smaller sections called UNITS

• How do you define a unit?• Look for where a new action begins• Find a title that captures the essence of each

unit • For each unit ask yourself, “What happens

here?”Look at some examples from a text…….

(7) OBJECTIVES

• In every unit there is a creative objective – a purpose or goal

• Therefore you need to define your character’s objective in each unit

• An objective should be believable & should make you want to carry it out

• Every physical action contains a psychological element

(8) EMOTION MEMORY

• Our own lives offer a rich store of experiences, memories, observations & insights

• Actors need a broad point of view to interpret different plays & create the life of people from different places & times

• Nobody has sufficient material for all roles, so you must observe other people closely…observe & draw on your past emotional experiences

(9) COMMUNION• Actors sometimes don’t listen to their partner in a

scene; they switch off & wait for their cue

• Stanislavski always maintained that if actors want to hold the audience’s attention, they must concentrate on uninterrupted exchange of thoughts & feelings with other actors

• If your feelings are conveyed to the other actors & affect them – the audience will be carried away – if they can’t reach your partner standing next to you, they won’t reach the audience

(10) SUPEROBJECTIVE- The Ruling Idea

• As you create your character’s objectives, you can begin to get a sense of an overall goal – a line running through the play – a superobjective

• “I want to kill the king” or “I want to make her love me” the ruling idea of the play

• When you have found the superobjective it acts like a magnet as all the other objectives fall into place. THIS IS THE CRUX OF THE SYSTEM

Method actingMethod acting emphasizes emphasizes

Natural-seemingNatural-seeming – lifelike - acting – lifelike - acting– Method actors learn to identify with their Method actors learn to identify with their

characters and to develop “back story” and characters and to develop “back story” and “motivation” ideas“motivation” ideas

– Method actors often study real-life people to Method actors often study real-life people to get a better sense of how to portray charactersget a better sense of how to portray characters

CollaborationCollaboration between actors and directors between actors and directors (rather than directors calling all the shots)(rather than directors calling all the shots)

ImprovisationImprovisation to enrich the film – deviating to enrich the film – deviating from the script when appropriatefrom the script when appropriate

The use of The use of expressive objectsexpressive objects to indicate to indicate character and convey emotioncharacter and convey emotion

Method acting is still practiced, Method acting is still practiced, but is often combined with but is often combined with

other styles of acting.other styles of acting. Some directors counsel actors to Some directors counsel actors to

“think, don’t feel”“think, don’t feel” Other directors encourage actors to Other directors encourage actors to

feel and encourage spontaneityfeel and encourage spontaneity Some actors are encouraged to invite Some actors are encouraged to invite

the audience’s participation by the audience’s participation by restraining their emotions.restraining their emotions.

Issues in castingIssues in casting

Casting decisions traditionally reflect Casting decisions traditionally reflect culturally widespread prejudices about culturally widespread prejudices about subordinate groups – everybody but subordinate groups – everybody but able-bodied white men.able-bodied white men.

RaceRace GenderGender AgeAge AbilityAbility

How casting worksHow casting works Casting professionals or agencies are hired to find Casting professionals or agencies are hired to find

appropriate actorsappropriate actors

Actors are usually represented by agents and Actors are usually represented by agents and belong to a union that ensures they are paid fairly belong to a union that ensures they are paid fairly (SAG, the Screen Actors’ Guild.)(SAG, the Screen Actors’ Guild.)

Well-known actors read scripts and negotiate with Well-known actors read scripts and negotiate with directors and producers to determine whether directors and producers to determine whether they are interested in a film.they are interested in a film.

Less-well-known actors take Less-well-known actors take screen tests. screen tests. Here is Here is an early, hilarious an early, hilarious screen test of actors James Dean and Paul Newman..

Types of roles includeTypes of roles include

Major roles – hero, heroine, villainMajor roles – hero, heroine, villain Minor roles (in descending importance)Minor roles (in descending importance)

– Character actorCharacter actor– Walk-on or bit playerWalk-on or bit player– CameosCameos– Animal and infant playersAnimal and infant players– ExtrasExtras

Stand-ins and stunt-workers, wranglers Stand-ins and stunt-workers, wranglers and handlers, and body-doublesand handlers, and body-doubles

Styles of acting Styles of acting

Naturalistic (method). Think of Johnny Naturalistic (method). Think of Johnny Depp as J. M. Barrie, creator of Peter Depp as J. M. Barrie, creator of Peter Pan, in the historical film Pan, in the historical film NeverlandNeverland..

Non-naturalistic (expressionist) – Non-naturalistic (expressionist) – involving the alienation effect. Think involving the alienation effect. Think of Johnny Depp in of Johnny Depp in Edward Edward ScissorhandsScissorhands..

Improvisatory actingImprovisatory acting

Can occur spontaneously, or be decided Can occur spontaneously, or be decided on as a strategy by director and actors. Or on as a strategy by director and actors. Or both!both!

Barsam cites the Barsam cites the “You talkin’ to me?” segment from segment from Taxi DriverTaxi Driver (Martin (Martin Scorsese, 1973) as an example. There Scorsese, 1973) as an example. There was no scripted dialogue/monologue for was no scripted dialogue/monologue for this scene; De Niro – who is a famous this scene; De Niro – who is a famous proponent of method acting - improvised.proponent of method acting - improvised.

FramingFraming, , compositioncomposition, , lightinglighting, and the , and the long takelong take all affect the audience’s all affect the audience’s perception of an actor’s perception of an actor’s

performance. performance.

FramingFraming and and composition composition can can separate actors or keep them separate actors or keep them

together in a shot. together in a shot.

Here the actors are separated in the Here the actors are separated in the frame (in depth and in length from frame (in depth and in length from

each other).each other).

Barsam suggests we use the following Barsam suggests we use the following criteria to evaluate an actor’s criteria to evaluate an actor’s

performance:performance: Appropriateness; naturalnessAppropriateness; naturalness Inherent thoughtfulness, emotionalityInherent thoughtfulness, emotionality Expressive coherenceExpressive coherence Wholeness, unityWholeness, unity

Screening checklist: Screening checklist: ACTINGACTING

Why was this actor chosen and not another?Why was this actor chosen and not another? Does the performance create a coherent, unified character?Does the performance create a coherent, unified character? Does the actor look appropriate for the part?Does the actor look appropriate for the part? Does the actor’s performance convey actions, thoughts, and Does the actor’s performance convey actions, thoughts, and

complexities in a way that is appropriate to the film?complexities in a way that is appropriate to the film? What elements are most distinctive about the actor’s performance?What elements are most distinctive about the actor’s performance? What special qualities has the actor brought to the performance?What special qualities has the actor brought to the performance? How is the actor’s performance interwoven with the filmmaker’s How is the actor’s performance interwoven with the filmmaker’s

overall vision?overall vision? Is the actor’s performance logical?Is the actor’s performance logical? To what extent do we get tricked into thinking we’re watching real To what extent do we get tricked into thinking we’re watching real

life?life?

(Barsam 235)(Barsam 235)