Learn from Books; Meisner vs. Strasberg

I should have mention it before.. an earlier step. But here it is now. When i first started reading about acting, it was on Wikipedia for general information. There i learned that there are really two different main approaches to acting: one lead by Lee Strasberg, and the other by Sanford Meisner.

I first decided to study Meisner's method because i had read comments that his way is more direct and simple, and i didn't want to waste any time. So I read "Meisner On Acting" by Sanford Meisner about a month ago. I had read about 50 pages when i met Susan and she told me STOP READING. and i did stop... But i thought about it for a few days and decided to keep reading... So i finished it, and had a better acquaintance with the acting studies.

I wanted to keep reading because i literally had no knowledge of acting--meaning i had no idea what is expected, what's not, what's acceptable in a classroom environment, what general language and terms are used in the craft. I wanted to get aquainted with the perception of others. Susan told me that you can't learn method from books and that i shouldn't read them because they'd confuse me. And i can totally see why she said that.  But, I look at things objectively and i am not going to internalize the thing which i read, or act too-good just because i've read a book or two, which i think that's what she wanted to avoid.

However, as i studied with Susan and started to read Lee Strasberg's book "A Dream of Passion, The Development of the Method," i realized that this is the Method that i worked for me. I feel it to be more classy, professional, and structured, more closely related to that of the grandfather of acting--Constantin Stanislavsky. Whereas, Meisner seemed a bit more gritty, harsh, and unsupported by method research.

With this healthy attitude about learning from reading books, I was more prepared and ready to work with Susan. She even commented how i "know all the right terms" after i had been intellectually prepared with terms like "craft, diction, cold reading, etc." So if you've got a healthy and humble approach, then you can learn from books--just make sure you are objective and not to assimilate to everything you read. you must discover what works for you on your own, or better yet with an amazing coach.

Coming Along Well, Apparently

Friday was my 3rd session with Susan Grace Cohen. I love every minute. I learn so much from her experience with other students and industry professionals.

She tells me stories of the industry... how she taught Justin Chambers (Grey's Anatomy), Karen Allen, etc. She was offered to work with Michelle Williams on her new movie depicting Marilyn Monroe, of which she could be up for an Academy Award....
She tells stories of students that she teaches at NYU and at the Lee Strasberg Institute and how they are so much different, some childish and immature. Instead of humbly accepting an assignment or task from which they would efficiently learn, they question it and question its relevance to their work. Come on people! Don't question, just work and trust that your teacher is an expert in this.

Colleen and I were talking the other night how i have the ability and willingness to learn. I absorb as much as i can and do so with an open mind and humble heart. I don't want to challenge my teacher, i want to learn from her and challenge myself. That is the way to learn. And apparently it's been paying off. Susan wasn't wary to let me know how impressed she was that i was progressing so quickly and picking things up so fast. Let's just say she gave me very good remarks at the end of the session, and i am so humbled and grateful.

It even got me to wonder where i should be this next year, thinking maybe i should stay here close to NYC, keep learning, and seek work as a bona fide actress -- instead of going back to school for a year and a half. It seriously got me thinking.

Ultimately, i'll get my degree.. which is good, not just because of the college degree and all, but because i think the pacing will help me adjust to the life i will be leading in a year or two. I don't want things to go too fast or i won't even know how to deal with it.

So, i'll work on these 2 new monologues she's given me (i've just been working on the one monologue for 3 sessions, and i think Susan's pleasantly surprised that I am ready for a lot more than that). i'll get acquainted with reading through an entire play with an artistic eye and creative mind. The play is Summer and Smoke by Tennessee Williams. I've ordered it from Amazon and we'll see how it goes. Mission? read through a few scenes, put it down, come back to it after a day or two, read a few more scenes, repeat, etc. I think the point is to gradually become familiar with the characters and mood of the play... we shall see!!!

What the Hell is Acting, Anyway?

I have currently had 2 private sessions with Susan Grace Cohen, with more to follow. And i got to tell you...

Haven't read this.. the image just applies.

i have developed a revelatory sense of acting as a craft. [let me preface by saying i am studying by way of the Method as developed by Lee Strasberg --which i'll talk about in another post].

Acting is not really acting. What i mean is, it's not just pretending... oh no... it is being as sincere and true as a person can be, just under "imaginary circumstances." (coined Meisner)

So, when you act, you prepare very personally for your own emotions to lead how you say something. You can think about whatever you want while you are in the process of acting. What you feel in relation to what you are thinking is how you bring truth to the scene. Then, you simply say the given lines over your true thoughts and emotions. And therefore, because what you are thinking and feeling on the inside is completely true to yourself, then the acting that happens on the outside has the same outcome of truth and sincerity. And let's be honest, you can usually tell when someone is sincere versus when someone is fake.

Is this making any sense? It seems to make so much sense in my head, but for all know it could sound like word vomit..

The point is, i have a deeper appreciation for acting. I consider myself to be an artist, one of different mediums such as painting, photography, design (check out my art blog: karyncadyartworks)... but i have never experienced an art that is as challenging as acting to create truthfully. That's what you are doing... creating. Every emotion, every glance, every voice fluctuation and facial movement, every gesture, every thing -- It is creation!

...and i most definitely have a passion for it.

Step Fourteen: Reading the Script: Screenplay-to-Film Acting Lesson

In first studying how to read lines from a script, I searched available online screenplays and available movies I could watch on my Netfilx account. From that I decided to take a look at a casting that would be similar to my own: a casting like Jennifer Lawrence's [X-Men First Class, The Hunger Games, Winter's Bone]. So i found Winter's Bone, 2010 Best Picture & Best Screenplay Sundance Film Festival.

Before I started watching the movie, I read the the first 25 (of 73) pages of the screenplay and read the part of Ree (Jennifer Lawrence). I tried to read for Ree to see how I would be that character versus how Jennifer Lawrence portrayed her in the movie.

First time I read through the first few pages, there's a simple line that Ree says to her younger sister: "Mornin." I tried reading that several different ways: happy, hyper, sad, indifferent, angry, sisterly... but the truth is that you can't just know the character from one line or how you should say it in that instance. That's where the director comes in. Or, if you don't have the director, make sure you've read the story thoroughly then decide for yourself. Or be who you are and decide that THIS is how you see the character, because it is YOU.

Also, each individual line is not a chance for you to prove yourself, it's a chance to show who you're character is and what she is going through.

Above is page 10 from the screenplay
Below is the trailer for Winter's Bone
(there're a couple lines from this page that are said in the trailer)

That was my first real understanding of how to interpret a script. I realized that you need to have an understanding of the character and what her true actions/emotions would be, given the imaginary circumstances. It is a way of defining the character yourself, and not just imitating someone else (which is one of the ways you get trapped and lose your creative self).

It sounds a lil' complicated, but you can learn quite a bit from this process of reading it for yourself and comparing objectively. Key word: objectively. There's no sense in being critical of yourself. You are learning and therefore making progress no matter how it seems.

Step Thirteen: Research the Pros--Be an Artist... and Know How to Deal with Industry Indecency

1. Research the Pros--professionals are professionals for a reason... they know how to work the business and get noticed for their talent and acquired skill! No wonder they have become stars. They deserve to be stars! I came across some celebrity auditions. Impressive if you ask me. Thought i'd share. Very cool. I love love love these actresses. Oh! Speaking of which, never feel embarrassed for liking or wanting to emulate anyone you admire, no matter how different or unusual (or on the other side of the spectrum: mainstream or fad-like) it may appear to be. You are an artist, so appreciate and aspire like an artist.

Not to mention, i came across this blog that is written anonymously by some successful actress. Check it out. It helps to visualize yourself being successful in what you love too! http://theworkingactress.com/

The Following Videos:
1st is Emma Stone for Easy A. [monologue]
2nd is Sandra Bullock (not sure what for). [monologue]
3rd is Rachel McAdams for The Notebook [dialogue with Ryan Gosling].

________________________________________________________________________________

2) Know How to Deal: too many young people (girls and women mostly) are taken advantage of in the acting biz. Know who you are and what you will and will not stand for.

i came across this suuuper disturbing video. it's a couple of students acting out a scene from When Harry Met Sally.. then the teacher takes it wayyyyyyyyyyy too far. I wanted to yell at this girl and tell her that's it's okay for you to stand up for yourself! if you FEEL like something is wrong, then it probably IS wrong.

CAUTION: this is TV-MA for sexual innuendo and strong language.

although it has very mature content, it sure makes me thankful for my strong sense of right and wrong.  it's good because it prepares you to react properly in a situation like this, instead of just being in complete shock and confusion. now ain't no way in hell i'd allow an acting teacher treat me this way.

btw, i later found out it was in the Sundance Film Festival '09. So it's not actually real.. i think. 

Step Twelve: Monologuing (just an intro)

Knowing and perfecting a couple different monologues is the foundation for good auditioning. You want to have a contemporary monologue and a classic one. Preferably, you want a comedic and dramatic of each.

I've learned Shakespeare's Sonnet 116 and i practice it in various different tones, manners, and accents for fun. though there's also legitimacy in doing this. I will post a video soon of me doing different readings of this.

While searching for monologues, i found AceYourAudition.com which provides some useful info for actors. Just a few hints for auditioning and monologuing: http://www.ace-your-audition.com/free-monologues.html

ALSOOOO i love youtube instructional videos... here's a series on monologuing that's very helpful called "Practicing Audition Monologues:" SERIES PLAYLIST (22 one-to-two-minute videos)

Step Eleven: Private Acting Sessions Begin!

I finally am going to have a private session with Susan Grace Cohen, prestigious Manhattan acting teacher! We'll see how it goes.

Mostly I'm just worried about me--you know. how i'll act (no pun intended), hoping that i'm not nervous, playing to my strengths, mostly being myself. I want to be me in my entirety (no forced words or gestures or whatever) and i don't want my nerves or expectations to change that.

I really hope it's okay with her for me to videotape the session. I wouldn't post it all up.. but i do want to reference what i've learned for later. I would want to post up just parts of me monologuing though, just to record history n' all.

Fingers crossed, nerves stay down, just be me, try to learn, don't try too hard... be as comfortable as I am with my little sister... well maybe not that comfortable... but maaaaaaaybe YES.

Step Ten: Realize Your Timing is Not Always Fortune's Timing: New England Disaster Zone for Halloween

Had to postpone production of "Wayward" due to a massive snowstorm in OCTOBER. We got 14 inches of snow, which wouldn't have worked for filming. No power since Saturday and won't have it until ETA this Saturday. So post-production will also be delayed for another week.


"Wayward" production will happen soon. I'll keep you posted.

Till then, I thought I'd mention how Halloween was ruined. No trick-or-treating happened in town and the house was cold and dark. I did get a chance to charge my computer at town hall. So we watched Casper, then I watched Scream 4, which I realllly liked. It had the perfect melt of cheesiness, freakiness, and rhythm. I really liked Emma Roberts and Hayden Panetierre in it. I had to fast forward really fast through it first so i wouldn't be terrorized watchin it through for real. It worked! I wasn't scared after, yet i still got to appreciate the twists, turns, and ghost-face scares.

I watched the making-of and commentary. It gave good insight to what goes on in an actor's mind on set and while filming. For example, Hayden mentioned how she panics if she only has a one-word line in a scene (i.e. --"Kirby, what's your favorite scary movie?" --"Bambi"). Although the scene is not about you or about you saying this one word, you still want to say it the best way you can with the most effectiveness.

Step Nine: ShortFilm4Kicks: "Wayward" Pre-production

Fabulous writer, novelist, and my sister Colleen Garrison wrote a screenplay for a short film (approx. 12 minutes) entitled Wayward (tentative title). To view the full screenplay click here. She wrote it in anticipation for Halloween.

It's about a girl, Shelley, who takes a walk in the woods and encounters a witch whose intentions are not kind, to say the least. Shelley thinks it is just a crazy woman, but she quickly learns that everything really isn't what it seems.                                                                                                There are four characters: Shelley, the Witch, Shelley's brother Mark, and Shelley's mom. I will be playing Shelley; Colleen--the Witch; Jared--Mark; and Mom--Shelley's mom, of course!

For pre-production, we had a production meeting a week ago where we read through the script and made any necessary revisions. We conceptualized the project, picked filming locations, and discussed possible costume and props. We will finalize everything before filming. I've memorized my lines (don't know bout Colleen and Jared though) and am eager to start shooting this weekend.

Hopefully we can have it done and feature it for Halloween!! And if it all goes well, we may redo the production with better equipment, extra crew, more cameras, and better sound.... but probably not. We just want this for Halloween!

Hopefully it will be just one of many screenplays that Colleen writes these next several weeks that I can act in and we can produce together. For me, it would be invaluable practice and experience.

Step Eight: Weigh Your Priorities... Play time? No time.

So, I decided that I won't participate in the play "It's a Wonderful Life" because of the time commitment. I've outweighed the pros and cons: ....and the bottom line: I don't want to devote a month's worth of (unpaid) time for a tiny blip on my resume, when I could wait tables and make enough money for Lasik.  college of course. 

                     Pros                         
1. New experience
2. I was excited to learn lines and role-play
3. See the atmosphere of acting
4. Networking and new friends
5. Something for the resume
6. Fun, fun, fun
7. I'd get to see my friend Kyle a bunch
8. I have multiple roles
9. I have speaking lines

                     Cons                         
1. My roles are small.
2. It's far. 45 minute drive from my house.

3. Requires multiple visits per week.
4. Would require rehearsals every day the last week, even though my characters are minor.
5. The play itself runs 3 weeks: Decemeber 2nd to the 17th.
6. Requires every Friday and Saturday night for 3 weeks.
7. Cuts into my chance to make money at the Cheesecake Factory. Restaurant biz is super busy and generous during the holiday season. Weekends are the most fruitful.
8. It's stage acting. I want to be a screen actor.
9. It would require Sunday rehearsals and matinee shows, which is a buzz kill for stage acting.
10. I'm bitter that I didn't get a lead part (mostly I'm bitter that I didn't prepare before auditioning b/c i could've gotten a lead if I'd prepared better.)
11. "It's a Wonderful Life" is truthfully a bit boring. It was hard to even just get through the movie in one sitting (which I didn't even do... I had to watch it in 4 different parts! secret: once I watched past the lines I would have, I never finished the rest).
12. I have 5 speaking lines.

=========================================================================

"It's A Wonderful Life" Feature Film & Script

these would have been my lines:

  WOMAN

                        How am I going to live until 

                        the bank opens?

------------------------------------------------------

  MRS. DAVIS

                        Could I have seventeen-fifty?

------------------------------------------------------

               EXT. STREET IN BAILEY PARK – DAY
               CLOSE SHOT
               George and Mary are talking to Sam Wainwright in front of 
               the latter's car. Hs wife, Jane, is now out of the car.

                                     SAM
                         We just stopped in town to take a 
                         look at the new factory, and then 
                         we're going to drive on down to 
                         Florida.
                                     GEORGE
                         Oh...
                                     JANE
                         Why don't you have your friends join 
                         us?
                                     SAM
                         Why, sure. Hey, why don't you kids 
                         drive down with us, huh?
                                     GEORGE
                         Oh, I'm afraid I couldn't get away, 
                         Sam.
                                     SAM
                         Still got the nose to the old 
                         grindstone, eh? Jane, I offered to 
                         let George in on the ground floor in 
                         plastics, and he turned me down cold.
                                     GEORGE
                         Oh, now, don't rub it in.
                                     SAM
                         I'm not rubbing it in. Well, I guess 
                         we better run along.
               There is handshaking all around as Sam and Jane get into 
               their car.
                                     JANE
                         Awfully glad to have met you, Mary.
                                     MARY
                         Nice meeting you.
                                     GEORGE
                         Goodbye.
                                     JANE
                         Goodbye, George.
                                     SAM
                         So long, George. See you in the funny 
                         papers.
----------------------------------------------------------------------------------

Step Seven: Research Local Community for Experience

You want to gain some experience while you have none. Audition and participate where you can! It's all about the simple research (that you can do all online).

• Local Community Theaters: Research your area and find a few that may suit your needs (distance, people, atmosphere). Just google "community theater" or "local acting classes" for your area. You can participate in theater productions, acting groups, and start developing a network, which is very important in the business. In my area (about an hour-away radius), i found several theaters and schools: 
• Shelton: Center Stage
• Ridgefield: The Ridgefield Theater Barn 
• Ridgefield: The Ridgefield Playhouse
• New Canaan: The Studio: A School for Performing Arts
• Trumbull: PACC: Performing Arts Center of Connecticut 
• Fairfield: Next Stop NY!: Acting for TV, Film, Stage
• Stamford: Curtain Call 
• Newtown: Sabrina's Encore Productions
• Westport: Center Stage Theatre Company
• Broookfield: Brookfield School of Performing Arts
• Local Classes: many times your local community theaters will have classes available for you to enroll that may run 6-8 weeks per season. Check them out. They tend to range from $200-$500. There may also be classes and workshops available locally at a nearby university. Your library may also know of the current happenings in the acting community, so be sure to ask your librarian and check the website!


• the class i wanted to do but it had already started was at the Ridgefield Theater Barn and the class was called "Developing Your Acting Career" taught by Susan Grace Cohen (NYC Tisch (resume))
• though, i found out it was taught Tuesdays 6:30-8:30pm and went at the end and waited to talk to her. i couldn't get into the class but...*
• Private Sessions: You're area may have talented and experienced acting teachers available for private sessions. Usually they are an hour long and are $100/hour. For the coaching you get, it could be well worth it. Check their credentials and make sure they have the background necessary to teach you well. Remember, "great actor" does not always mean "great teacher."
• *.... she (Susan Grace Cohen) offered to do private sessions. after looking up her credentials(my fave of her students is Karen Allen - Raiders of the Lost Ark, Starmann, The Sandlot) and such, she looks like a great teacher. i emailed her and we will work together at least a few times before I go back to school! it'll probably end up being $300 or more, but that could be something invaluable to my acting career.

Step Six: Getting Audition Results, Lessons Learned

Well, I didn't get a lead part. I got 3 smaller roles though: Jane Wainwright, Miss Davis, and Woman 1. All i got to say is: i really should've watched the movie before I auditioned. I think i would've gotten a lead had i seriously prepared. from the experience, I learned key things to auditioning:

• Prepare as much as you can
• Get there early
• Act like you know exactly what you're doing
• Make no apologies
• Skim the given lines, then read again slower, then once more.. then try to memorize some of the lines. Just get the gist and know the emotions in the scene. Then just be you being the character.
• Stay cool, or else your excitement will blind you from your focus

I haven't decided yet on taking the roles. I'm watchin the film right now to see if my characters are good enough to devote hours of rehearsals topped by 45 minutes of driving to Shelton each way every time (of course the film and stage play are much different). 

In retrospect, it would be a good thing to put on my resume and it would be experience. Even just being there might do me good for networking and would put me in the atmosphere of actors, which would be enlightening and give me direction, i'm sure. I will go to the cast meeting this Saturday to see what it takes to be part of this production... and... if it pleases me... then let's all break our legs!

Step Five: Final Headshot Selection

Forewarning you! This is a lot of me!
You'll first see examples of THEATRICAL headshots (theater, film, television);
then COMMERCIAL headshots (just commercials). Then, you'll see my final selection of both!
[for better understanding of theatrical vs. commercial headshots, click here.]

You can do a few different things to get the best headshot. First, you narrow it down by your:

1) Look

• you want each look to be expressive, open, and clear. the goal here is to let casting directors see you, see into you. your eyes is one way you can tell if it's a good shot. do they say something to the viewer?

2) Composition

• once you have your favorite looks picked out (it could be 10 or 50), you can crop your pictures to your liking. headshot trends show that its now popular to have a "head and shoulders" image. the ratio is 8x10. color. and could be portrait or landscape view. 
• portrait is more traditional and is easy for casting directors to look through, but landscape has gotten popular because it previews film better. 
• for landscape: casting directors have to turn the picture while going through a pile, which could be a good thing or bad. Bad, because it could be considered an annoyance; ood, because they look longer at it.

3) Communicative Power

• many shots will appear to be the same, but don't be fooled. one slight degree of the corner mouth or eyebrow can change the whole look and feel.
• for example, the pictures to the right appear very similar, but they are very different: the one above communicates power, mystique, is almost villainous. the picture below communicates vulnerability, worry, doubt. you see the difference?
• choose images that communicate something important like: this is me and i'm proud of it or i know i am right for this role. the goal is to have it be communicative enough where casting directors will want to stop and look longer (even just a few milliseconds) at your headshot because it speaks more than just "this is a pretty picture."

4) Intent

• for what role do you want this headshot to be? do you want to spend time picking and printing different headshots or is the "money shot" the best option? I like to be prepared for both scenarios. the "money shot" would communicate what you want but it could be versatile for every role to which you apply. this is the most common. however, with the popular growth of online portfolios that allow many different headshots, be prepared to select other images that express something different.
• emotions that could be conveyed in my different headshots: confident, right, declarative, wild, sure, deviant, poised, suspect, whimsical, innocent, vulnerable, etc.

COMMERCIAL is similar in that you want to consider look, composition, communicative power, and intent. However, to me it is more basic, light, and fun. Wear light colors, have a happy and open expression as well as pose. If you have a nice smile, show it. These were my final choices:

NOTE: make sure your headshot looks like you! Casting directors hate it when they looked at your headshot and in walks someone who is completely different. It should look like you and capture your personality as well as your intent.

It is smart to ask family, friends, and strangers their opinions. Ask them which is their favorite and which really communicates something. It's also a hint if they end up looking at a particular one for even just a second longer than the others.

Finally, my current final picks are.... drumroll.... but you can already see them. So take back drumroll and instead... i'll just say....... BAM! what do you think? be honest. i want what works and it was a hard decision for me.

Step Four: First Audition Ever!!

While you select your headshots (which can be quite a long process), you want to find any local auditions that can give you just-a-FEEL for the theatre and the atmosphere that auditioning entails. This particular audition was at a community theatre so I really didn't need ready-headshots or anything. It was a good experience... Read on!

There is a Community Theatre Center in Shelton, CT that puts on many plays year-round. i subscribe to their email list because my friend Kyle Attanasio is a principle in a lot of their performances (he is currently the muscleman in "Harvey"). i opened up this particular email and it said:

So what does an aspiring actress do?

Carpe Diem!

I went to my 1st audition ever.

1) We drove (my lovely mother drove because i have not yet renewed my license because I'm lazy and i sleep during all of the DMVs open hours. yes... insomniac... or do i really mean vampyr!! yes. vampire. much cooler.) 45 minutes to Shelton, got lost cuz of the damn bridge (literally it was a dam bridge). but i got there!
2) signed in and met the director of the play who was casting.
3) went in and he spoke with me for a couple minutes about experience, age, and info.
4) we talked about the two characters that he wanted me to read for: Violet (flirty, floozy, flighty, ditz-like but has Spunk, always done up, not the let's-go-on-a-hike-type) and Mary (the lead; a pretty face, very sweet and cute, told she has spunk).
I really should have studied the characters beforehand, or at least watch the movie! i haven't seen it for many years... but it wasn't on Netflix so.. whatever.
5) He gave me the two pages of lines to study and look over
6) After about 5 minutes, a member of the Center--Steve-- rehearsed lines with me.
7) We rehearsed for about 5 minutes..
it's so great to get into character with someone else who's in character. i have never read lines or done role play so this was extra exciting... and a challenge for my first time. you have to think about everything: your voice, your face, your body language, connecting with your partner, creating a believable scene.
8) We went in and performed the short scene for the director. i didn't memorize my lines by any means as i had just gotten them and am not very experienced with that yet. but i tried to use what i had.

9) After that, he said he will do callbacks for some people during the week. for those without callbacks for big roles, they'd just check the website one week from today to see what role they got.
10) I wish i would have filmed my audition! i was just so exciting and experiencing everything new that i didn't think about it. dang it! then i could've seen how bad i was and learn from it.
11) i think i did good-relatively-for never having read lines or role played. it was a revelation. i never knew that side of me--performer and actor. Starting to feel it!!!

i have no idea if i will get any part but i don't care because it was just THAT revealing and all worth it to know that this truly is my passion-- it's a rush, just a few minutes even of "playing pretend" and truly trying to harness a character's essence. i don't really think i did that with Mary (she sorta lacks personality) but i liked playing the flirty Violet. I'd like the chance to try to MAKE a character out of Mary though. more time. more practice. more study. these are exciting times!!!!!

p.s. yes. i was so excited about doing an audition that i did a mini photo shoot for this blog. that's just 3 of about 20 that i took. from a tripod. on a timer. in my room. by myself.