Originally posted by WSCT I believe that exercises such as the one mentioned in this Post are usefull tools in an acting class or in a workshop?situation as an?imagination builder but does little to really help build a character. We need to remember that the script is our guide. Regardless to what happens before Act 1 or after curtain in a particular show, the performance is the moment of reality created in the script. The actor needs to be in the moment based on the information and the situation in the script. Who cares if my character was a Pinko Commie during the 60's and hates Chineese food it it has nothing to do with the scripted moment. Even if this information did have something to do with the current reality on stage, then the circumstances of that knowledge would be brought?to light?in the script. ?

A. And what's wrong with acting classes? LOL If every play was spent
in rehearsal as an acting class, we would have many more rewarding
community theatre plays.

B. You bet it would make a difference!!! Everything that we do is part
of what makes us who we are. The same with characters on a stage. If
the only thing brought to the stage is what is written in the script,
what's the point of performing the play? Why don't we just sell copies
of the script? Anything that an actor brings to a role in addition to the
(usually minimal) information given about a character by an author
(unless you're doing Tennessee Williams LOL) only enriches and
deepens the colors of the character for the audience. And that
information informs the character's reactions' depth, spontaneity,
reserve, etc.

Dear Fellow GreenRoom Folks,

Sorry if I ruffled a few feathers- I meant no disrespect to anyone who uses the exercises. I just feel that there are better ways to bring honest character elements into a part then the mentioned exercise. I appreciate avcastners clarification as to how she uses it.

 

Originally posted by WSCT Dear Fellow GreenRoom Folks, Sorry if I ruffled a few feathers ?

ruffled feathers?
nah
just people who are passionate about their art, disagreeing about a
process and/or technique

Barb, hope everything went well.  As a director, I hope in your preparation, you did this same exercise as part of you prep work.  That way you would be able to see how far apart your intentions are with the actor's interpretation of the role.

As an actor, I myself do very similar exercises, including scoring my script, drafting a character sketch/bio and even have done psychological profile test as my character, and then adopted all the maximum attributes of the psych profile.  I also pick a character song that I feel defines my character's objective and personal interpretation in the show.  IE "The Great Pretender" for Hal in "Picnic".  Then I listen to the song during personal warm-up exercises to set my mood.

But these are my exercises, and as an actor, there is nothing more infuriating as spend hours to develop a character, and have a director shoot down or dismiss your work because your interpretation doesn't match with the director.  Unless it is working with a Director that doesn't know what they want to accomplish.

I once did a production with a director who was, in his personal life, married to a Soprano. The show had two female leads and one male lead, and a supporting cast.  This director was so used to be around his DIVA SOPRANO, that he could only work the show to revolve around a single female lead.  The rest of the cast became dancing monkeys that were no better than one dimensional.  Fortunately, the cast rebelled after the preview night, brought their own character interpretations to the table, and the blocking while remaining close to the director's design, was pretty much done on the fly during the opening night.  I hope the point is conveyed.  Good Luck!!!