I
can sense that you want to be a better actor. I can also sense that
you're very excited to learn more about Act Intuitive , a blend
of the best of 20th century acting technique with 21st century
intuition. Was I right? I thought so!
That's why each issue of Acting Magic has what I
call two "little
t's" .
. .acting tips
and intuitive tricks . . . two little sections with
great ideas to increase both your your intuitive talents and your
skills as an actor. The big article, the "BIG T", gives you
some major TECHNIQUE clout to take your acting to the next
level. I'll also be bringing you some newsy spots about The Intuitive and the
Industry
from time to time. And some great internet acting links and news from all of my friends in the
Entertainment Industry. All so that you can Make Acting Magic!
If you've missed any
issues of Acting
Magic, the last three
issues are archived on my website, www.actingintuitive.com. Simply
click on "Articles" and you'll see links to all of the available
back issues.
Acting Tip: Intention
I just love to watch
people. When you watch people, sagas enfold before your
eyes. Poignant, funny . . . even tragic sagas. When you
watch people, you find out why they do what they do. Actors
are innately curious about humans and human
nature. Observing people and their behavior is our
continual homework. And our continual passion.
One of the most important things to decide when you're acting is
the intention of the character you're playing. Intention is, quite simply, what the character
wants . Intentions define your major action
and are a framework upon which to hang your adjustments. For us
keen observers of human nature, knowing what our character wants
is a snap. If you find or create intentions for your
character, you're doing 75% of your acting homework. I'm
currently working with a novice actor who plays her intention so
strongly that she nails the scene every time.
Intentions can be revealed . .
. your character knows what s/he wants and goes after
it. Or intentions can be concealed .
A concealed intention is one that your character knows but keeps
hidden from others. A great example is the Kevin Spacey character in
The Usual Suspects , who concealed his real identity to manipulate everyone
for crooks to cops and to ultimately get off the hook at the end of the movie. Or one that your character
isn't aware of themselves but is obvious to the audience and/or the
other characters. The Linus character in Sabrina, who fell in love
but didn't admit it to himself until the end of the
movie,
is a great example
of this type of concealed intention. When I was acting, I used
to choose atleast one revealed and one concealed
intention for every scene. If concealed intentions aren't obvious in
the script, make them up. Playing opposing intentions
makes for a very complex portrayal.
After I read a new script several times, my next task is
to define revealed intentions. I label them as a "to . . . " verb. For
example, in Waiting for Godot, Estragon's main intention in
the first scene is "to unboot". It's obvious from the script that
he wants to get his boot off and that this action colors much
of his behavior in the beginning of the play. Go
through the script and define revealed intentions with a "to . . . " verb.
Then define concealed intentions. Concealed intentions
are similar to adjustments but are more central to the action and behavior
of your character. I talk about adjustments in my
major article this month, and we'll cover more about them in this
section next month. Until then, choose concealed intentions based upon
the information you get in the script. Or be creative and make them
up. For example, Estragon could have the concealed intention in
those first few pages "to shut out Vladimir's babbling". This intention
is inferred by some of the things he says but not openly declared. Dealing with the physical pain in his foot and the mental pain
in his head from all those words can make for
a very rich struggle of the senses.
Every script has a global intention or
theme. Within the theme, your character has one or two global intentions that influence all your actions in the
script. Then there are the many major and mini-intentions throughout
the script that reflect your global intention. And it's important to define all
of them for yourself. For example, the global intention or theme in
Godot is, quite simply, "to
wait". Estragon's global intention in the play is "to survive".
In the first scene, Estragon's major intentions are "to
unboot" and "to shut out" .
. . intentions that reflect his global intention. There's
also a mini-intention in this scene, "to get help", a
recurring intention for Estragon that we see in several scenes.
Mini-intentions can also dictate the activities of daily living that
make the scene real. Even though the boot comes off on page
three, Estragon has the mini-intention "to tend to his aching feet"
throughout the play. Because of this intention, he
might take the adjustments of wrapping them in a dirty
handkerchief, walking gingerly on them, fanning them
or cleaning between his toes. Once you know your
intentions, the adjustment possibilities are endless!
So grab a script, take out some paper, and write down those "to . . ." verbs! Then improvise the scene you're
working on using these intentions before you learn lines and work on the
script in the traditional way. Have fun and experiment with revealed
intentions! You'll find that your performance will leap off the page
once you return to the script. Knowing
your intention is one of the foundations of
great acting.
Next
Month,
we'll talk about Adjustments.
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Top 
Intuitive Trick:
Toning
Susan Osborn is
a Japanese national treasure. She opened the 1998 Winter Olympics in
Nagano with her soprano-silver voice. Susan Osborn told me I
was going to sing again. And I believe her.
Susan lives in a magical place called Orcas Island
that's part of the San Juan chain. It takes all day to
get there from Los Angeles. . . a plane ride into the Seattle/Tacoma airport,
a 2 1/2-hour drive north to Anacortes and then a
picturesque hour-plus ferry ride. But all that time and trouble is worth it. I've been to Orcas four times and each
time I've had a spiritual experience there playing with the
Orca whales that swim in abundance around it.
In this magical place, Susan makes even more magic with
toning in another magical place . . . her beautiful art
gallery, the Living Room. I was very lucky to experience this
very simple intuitive trick during a profound
workshop I used to attend every year on Orcas. Toning helps
even non-actors express in a very short time.
I've used toning in many acting classes to help actors connect with
the power and expression of their voices. This simple technique allows
energy to flow freely through sound. It's like a sound
meditation. For actors, who express much of their art through their
voices, this type of vocal expression is crucial.
So . . . try this. Stand with your feet shoulder-width apart and keep your knees
soft. I also like to lift my arms up to shoulder height at some
point during the toning experience to open up my entire
body. Or start with your arms already raised. Breathe in
deeply until you can't breathe in anymore. Then let out the breath
in a continous sound until breath and sound are gone. Then breathe in
and repeat the process. The effect should be like a spontaneous wave of
breath and sound. I like to start with a continous open vowel
sound, like an aaaaahhh, but the more you tone the more the sound
may evolve into something else. Don't anticipate or control the
sound . . . just let it happen. It's that simple.
As in all acting exercises, don't anticipate the result.
Just keep going. And notice how the rhymic process of breathing in and
toning out places your voice where it needs to be in your
body. Don't force the breath or the sound . . . allow both to
flow freely.
You also may experience some sort of emotional release with toning. Many
of us have emotional baggage packed into our voices. Toning may help release
this emotion. You might also want to work with a coach
to make sure that you're toning correctly. A coach can also help
you process fully if you have an emotional release.
Or tone with a group of friends. Toning exercises seem to be
more profound in a group setting. In a group setting, you can also
do a group tone before and/or after you tone individually. Very
powerful stuff!
If you try toning, or any
of the other exercises I've described in the last few months, please
be sure to e-mail me at jill@actingintuitive.com.
I'm awaiting your exciting results. I'd like to begin
publishing some of the experiences subscribers have been having
with Acting Tips and
Intuitive Tricks in
future issues of Acting
Magic
. So please send me some
feedback!
Next Month, we'll talk about Guidance
.
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