Jul 28, 2011

The Actor and The Character


Leagan Gaeilge ar lean
"Each person evolves an external characterisation out of himself according to his intuition and his observation of himself and others." Constantin Stanislavski in relation to “becoming the character.” 


The Guardian/Character Building

"The actor does not need to “become” the character. There is no character” according to David Mamet.                                                    

"The audience sees an illusion of character on stage. To create this illusion of character the actor must undergo nothing whatever. He or she is free of the necessity of “feeling” as the magician is free of the necessity of summoning super normal powers” 


Lee Strasburg on a similar note states:

“In acting everything is done unconsciously as a process of memory”





“The actor is not playing a character; rather, the actor “is playing himself”

While Michael Chekhov seems to differ:

"The inner life of the [imagination], and not the personal and tiny experiential resources of the actor, should be elaborated"

Daniel Day Lewis seems to share such a viewpoint:

"The thing about performance, even if it's only an illusion, is that it is a celebration of the fact that we do contain within ourselves infinite possibilities."

Stella Adler dismisses the notion that an actors' only ability is to relive their own lives:

“You have to get beyond your own precious inner experiences.”

There is an interesting annotation of J.R.R Tolkien's in relation to storytelling and the author that is worth a mention in context of the actor as storyteller. This idea is similar to what Adler, Guskin and Alla suggest:

"An author cannot of course remain wholly unaffected by his experience, but the ways in which a story-germ uses the soil of experience are extremely complex, and attempts to define the process are at best guesses from evidence that is inadequate and ambiguous”

Likewise Nazimova Alla says:

"The actor should not play a part. Like the Aeolian harps that used to be hung in the trees to be played only by the breeze, the actor should be an instrument played upon by the character he depicts."

Gene Hackman continues in the same vein:

"Honesty isn't enough for me. That becomes very boring. If you can convince people what you're doing is real and it's also bigger than life -- that's exciting."

And Harold Guskin:

"If you are to do justice to [the great roles], you must fly up to them -- rather than dragging them down to you -- by expanding your range of knowledge and strengthening your imagination. Your imagination must become as real to you as your memories and feelings. No line, no image, no thought can be left general. Each must be specific and personal. Your work is not complete until this is so."

My own ponderings

It is the detail that makes a piece of art interesting to me; the specifics of accent, speech patterns, personality -whatever. I also love the freedom of making more interesting acting choices, that I myself wouldn't take.

At the end of the day “Your talent is in your choice.” (Stella Adler)
               
                                           
                                                                                                          
                                                                                                                                         

Leagan Gaeilge
"Each person evolves an external characterisation out of himself according to his intuition and his observation of himself and others." - Constantin Stanislavski i dtaobh 'becoming the character' 



"The actor does not need to “become” the character. There is no character.” a deir David Mamet..." the audience sees an illusion of character on stage. To create this illusion of character the actor must undergo nothing whatever. He or she is free of the necessity of “feeling” as the magician is free of the necessity of summoning super normal powers”



Ar an sreang chéanna de réir tuairimí Lee Strasburg:





“In acting everything is done unconsciously as a process of memory”


“The actor is not playing a character; rather, the actor “is playing himself”





Ar a mhalairt de thuairim deir Michael Chekhov:


"The inner life of the [imagination], and not the personal and tiny experiential resources of the actor, should be elaborated" Tuairim eile atá cosúil:


"The thing about performance, even if it's only an illusion, is that it is a celebration of the fact that we do contain within ourselves infinite possibilities." (Daniel Day Lewis)



Tuairim fiú níos láidire:


“You have to get beyond your own precious inner experiences.” a deir Stella Adler



Ráiteas suimiúil ag J.R.R Tolkien i dtaobh scéalaíocht agus an údar ar fiú a lua i gcomthéacs an aisteora mar scéalaí:



"An author cannot of course remain wholly unaffected by his experience, but the ways in which a story-germ uses the soil of experience are extremely complex, and attempts to define the process are at best guesses from evidence that is inadequate and ambiguous”

Mar a deir Nazimova Alla:

"The actor should not play a part. Like the Aeolian harps that used to be hung in the trees to be played only by the breeze, the actor should be an instrument played upon by the character he depicts."

Agus Gene Hackman:

"Honesty isn't enough for me. That becomes very boring. If you can convince people what you're doing is real and it's also bigger than life -- that's exciting."



Agus Harold Guskin:


"If you are to do justice to [the great roles], you must fly up to them -- rather than dragging them down to you -- by expanding your range of knowledge and strengthening your imagination. Your imagination must become as real to you as your memories and feelings. No line, no image, no thought can be left general. Each must be specific and personal. Your work is not complete until this is so."



Mo thuairimse

Is iad na mionsonraí a dhéanann píosa ealaíne suimiúil domsa -blas, stíl cainte, pearsantacht sonrúil -cibé rud. Agus is breá liom an saoirse sin roghanna aisteoireachta níos suimiúla a thógáil, nach thógfainn mé fhéin mar dhuine.



Ar deireadh th
all Your talent is in your choice.” mar a deir Stella Adler