Emotional Preparation

Okay uh thanks let’s get into this uh thanks for watching okay a couple different new activities for the um people that do acting activities um that are not on the 1100 or 1200 activities list acrylic paint pouring options there is these things that you can make that are called the triangle ergonomic triangles different shapes and

You can put metals and different things to decorations inside of them and it’s an epoxy pour so you can literally get a mold and that could be an acting activity it’s actually very creative activity another one is uh make a cement flower pot mold that is it’s fascinating and on top of that both of these you could absolutely add some very sincere sentimental um components which are nice um other

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Another one is um which is not on the on the list the huge list that i have alphabeticalizing books now you can alphabe alphabeticalize them both according to title or also according to name author you can also do that simple task um manually on a computer if there was some reason that you needed to do that because you’re doing that under a certain typeface or um something like

That so then the last one is you could be making a list of self um a list of certain types of books you could be making a list of books that you need to go to um university for or a course or say you have a new hobby on woodworking and you can then attach the meaning of being able to do that and that would be oh these are great all good activities so the topic today is let’s get um understanding that we have the the fact

That doing is so important it’s such an important thing and acting however however why doing and just doing is is kind of not that important is because of the trap that entrapment of what doing can do in your acting which is actually quite severe it can actually turn you into a robotic and lessen your humanity it can do all sorts of things by the implementation of a doing see this is where we get caught in this

Meanderness of you know activities doing an activity then we have to be able to be human and we bounce how to be able to introduce activities well into an exercise listen that’s hard hard hard work you know you might find that that simple task of organizing um or alphabeticalizing a um

Encyclopedia set that was out of order might be a great activity for something to be able to prove a point within a storyline or a film or an acting class or a theater production or you might want to alphabeticalize that as part of something that you include in the scene and because it fits so well within the scene that might be just a fantastic activity to be able to do but but that’s with the balance

Of the uh emotional preparation really i mean so i always describe it that there’s the being side of the work and then there’s the doing side of the work the doing side of the work is interaction you’ve got to be able to have the interaction but then you’ve got to also be able to get the emotion and the biggest thing people forget and it’s easy to forget

This because you’ve got a lot of different things to be able to figure out and to do and that is that you’ve got these these these things to be able to figure out well do you have the intended emotional range for the right that’s part of the emotional preparation process for a lot of actors that’s the only um emotional preparation process that

They do is they ascertain whether or not that emotional now this is obviously you’d probably advance beyond that but there this is definitely stuff that i’ve seen i’ve seen way over 30 000 acting exercises and i’ve seen a lot of actors do this where they’ll they’ll ascertain that they think that there’s a certain emotion and then they’ll come up with something that they’ll try and act out or they’ll try

And force a doing into their acting and what it does it comes out completely fake it comes out completely authentic this is the times where the teachers or myself if when i’m teaching is is i’ll be absolutely clear like look this person’s not listening this person’s not being empathetic this person is not receiving and this is the reason why i absolutely teach the emotional preparation is the ability to

Self-activate that emotion and then as you’re feeling the charge of that emotion in that emotional specific emotional range then you’ve got that emotional activation that emotional charge is running through you and then how you receive will be affected by that emotion but you will be receiving you might only be hearing whatever you’re able to hear at that

Moment but that’s part of the emotional experience and so this is far different far different than the typical acting and this is far different than some cliche which is a very important cliche of um acting is doing but the thing is is acting is doing but it’s really not and it is also because you’ve got that thing called balance and you’ve got to be able to understand that that thing called bounce is the thing that actually is what is the the confidence and you’re

Acting really it really gives you the confidence to be able to actually you know that when you when you’re able to do the the emotional activation right it’s one thing to logically know what you need for the scene everybody can go and and find the notes and and they’re very good good good good people will study extra to be able to get extra information and that’s fantastic but then there’s this click that happens in you there’s this like this moment of

Of just this thing that clicks inside of you as the actor when you do the emotional activation and you’ll feel this thing coming out of you it could be a rage it could be a hurt it could be a sorrow it could be a regret and all of a sudden it’s not that you’re you’re definitely not reliving your past regret you’re instead activating a past regret and then you’re receiving a new

Experience now that’s very very very important thing because when you can achieve that in acting then you can start to be able to actually rehearse and practice acting properly in a way where you’re actually involved in it now all of a sudden you’re getting a full rehearsal right which is very very very key so let’s look at these notes let me see if i’ve covered this already sometimes i get carried away and that’s just normal listen i really am into

Acting and the thing is that’s just the way it is so the first note i have here is force a lot a lot of actors and this goes all the way back to new york city and everywhere else to be honest it’s very it’s a it goes all the way back to shakespearean actors you know some shakespearean actors or any other theater components going back in the history of humanity you’ve got this thing where

You’ve got this this element of ego and an actor and the ego of the actor just is determined to be um forceful now this isn’t the kind of stylistic acting that i would suggest and this became very popularized in the 1950s and kazan was very upset by a lot of it and he had every right to be so the thing is is that the reality of this is you want to instead of having this force where

Brutally having a force or an objective to be able to hit with the other person whether you’re trying to control their mannerisms or you’re trying to be able to implement your emotion on them so that they have to believe you no no nobody has to believe anything that’s the key the absolute key to this whole acting thing is you activate your emotion and then you see what they believe and you see what happens when you receive them and you’re not there to

Question them you’re not there to be in logic you’re there to be able to receive them and that’s the the the empathy of your of your humanity you want your humanity to then be able to be those gears that just click which happens when you’re using emotional activation which is the key one of the big big big things and it’s not somebody else’s emotion it’s your own emotion so next note is forcing a goal on others

Versus freedom in nature absolutely key this is an absolutely absolutely key thing look there if you come to the door on an acting exercise and a scene you look at how many scenes have doors in them and people doing activities in them and it’s a plenty plenty of scenes are like that and you’ve got you’ve got even if you have an objective which is a very strong thing like maybe you need a piece of information and

That’s within the writing of the scene okay so even if you have a strong objective or a strong feeling or a strong inclination or a strong emotion even the stronger you get with your emotional range and depth the more you want to take in the other person the more significant it is that you’re accurate with what it is that they’re saying because what they’re actually saying is going to be able to

Affect you and that is the key absolutely another key so if you’re taking this in and saying well you want to be able to get through the exercise and have people believe you or you want to be able to get through the scene and have people believe you or you want to get through the rehearsal and see if you make a good impression for somebody well first of all don’t worry about impressing people your

Acting is going to only be impressive because of editors anyway most of the time so you want to be able to just trust that you’re in a natural ability to be able to get the talent which is the ability to be able to receive so instead of forcing a will on somebody um and i know a lot of famous names that have done this that i’ve seen with my own eyes do it so um just relax and and see what happens what can transform because you’ve got

You know sometimes you know people will say well they don’t need to see so and so work or they don’t need to see such and such thing happen and go and wait a second and then all of a sudden you know uh because i watch everything all of a sudden uh when when i’m when i’m in classes i try and watch as much as i can and then all of a sudden i’m i’m like i’ll take in and i’ll see all of a sudden there’ll be these two

Very unexpecting actors and the reality is is that they’ll be able to receive and then all of a sudden this whole thing will unfold and their work is the best work of the day absolutely hands down but you know that’s the reason is because they they were able to do that so the next note here is uh implementation you don’t never want to implement anything try and live in the freedom um everybody wants

To be able to go see a movie that allows them to have that freedom they don’t want to have um even freedom to explore a difficult topic would still be something that would be able to have an expansion of their humanity that’s what audiences actually want now the last one here i want to do a very quick reminder is a self-activation of emotional range your goal is to be able to self-activate that emotional range and that is absolutely critical in acting and thanks

For joining me today and check out my stuff and all that and uh thanks very much

Copyright 2022 Simon Blake

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