"The Tuning Fork"
"Take a tuning fork and place it at one end of a very large space (like a gymnasium), and take another tuning fork
and place it at the other end. When you hit one so that it rings -- the other one (without being touched) will also ring.
That's what I think good acting is.
It's when we, as actors, allow
our bodies and selves to so resonate with truth
-- that it causes the audience (and other actors) to resonate with us.
As an audience, we have
all had the experience of watching a performance on stage or screen, where it was just so incredible
truthful and powerful -- that we felt it and also, at the same time, flashed onto and felt, our own truth and experiences --
simultaneously. Those experiences stay with us for all our lives. (We often refer to them as pivotal moments
when we realized something, or felt something a new way , -- or it was just a moment of artistic magic
that we'll always remember and be affected by.)
Almost every actor I know has, at least once, felt a time when they were acting -- when they were "in the Zone".
A time when everything felt connected and they were aware of everything, yet they were relaxed
and even able to explore as each moment unfolded. It's a peak experience of acting.
Just having that experience once
-- can and has led actors to lifetimes of waiting on tables,
driving cabs, taking endless classes -- just to taste that again -- and too often in vain.
I believe that that "Zone" should be the norm.
That's the base from which we should be working. Most actors can't begin to do this -- and too many teachers settle for less.
|How I work to achieve this 'spontaneous' & truthful acting experience:
|a) Get the actor connected to their body. Bodies don't lie. I help sensitize the actor to how to take advantage of the truth of the body, to make their acting more truthful. The experience always 'feels good' to the actor. It sets the stage forthe 'zone' or the 'tuning fork' I mentioned above.
b) Introduce techniques, skills, and structure to help support the actor in staying connected to their bodies & the other character & the story of the scene - always, in any situation. My goal is to make the actor audition-proof, director-proof, performance-anxiety proof and present & behaving spontaneously from the perspective of the character to create real, effecting moments.
c) Sensitize the actor to recognize, appreciate -- and seek this level of open awareness and resonance (i.e. the "tuning fork") to begin to allow it to happen naturally all the time;
d) Text analysis, comic techniques, timing, and generally 'coaching' for a finished presentation/actualization.
Ultimately, the actor owns the technique. It becomes connected to his/her thought process, and manifests naturally."