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].

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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.