Why Study Emotional Preparation

Why Study Emotional Preparation

Why Study Emotional Preparation

Why Study Emotional Preparation is an important question for Actors and Musicians. How you find your emotion to put into your work is an incredible opportunity. Musicians and Actors can find and Activate their emotions just prior to working to amplify their own talent.

Some Main Quotes from this Acting Article:
“Activation is the KEY to Emotional Preparation.”
“Emotional Preparation is how we awaken ourselves up to Experiencing.”

Copyright 2018, Simon Blake

THE MOST SOUGHT-AFTER ASPECT OF ACTING IS; EMOTIONAL PREPARATION
FILM, THEATRE, and other ARTISTS can Utilize Emotional Preparation Techniques to Enhance Experiences.

This Emotional Preparation Forward is the planning stages of the book to be published on the topic.

This Book has Detailed Answers:

    What and How to do Emotional Preparation
    How to Include Emotional Preparation in your Auditions 
    How to know you are ‘Prepared’ 
    Choosing the right Emotional Preparation
    Being Certain in your Choices
    How to Include Emotional Preparation in your Acting. 
    Why Study Emotional Preparation

Let’s Discover together what Emotional Preparations work for us and what we need to adjust in our acting to be able to include the stream of life that Emotional Preparation produces.

“Emotional Preparation is how we awaken ourselves up to Experiencing

AN INTRODUCTION:
Few Articles have been written about Emotional Preparation as it is a personal process of the actor before they work. This book condenses hundreds of experiences into a readable format of the topic.
We explore over 17 student’s personal journeys learning Emotional Preparation. Also revealed are the personal journal entries of students learning the work.
Asking yourself the question Why Study Emotional Preparation can start you on a journey creatively. Leaping into how to learn to activate your emotions is one great reason.
This book is designed to instruct by discovery rather than directing the Actor on what is right or wrong. This book does not suggest that it knows what is right or wrong but rather shows the Actor how to find out what works for them.
Artistic fields like Acting and Art are subjective platforms and depend upon intuition expressed and feeling of the artist and not written or directed instructions. This book is an instruction in no way that alters your own connection to yourself, except to deepen it.
If you are a fantastic jerk, you will likely be able to utilize this book to learn how to act and keep your attitude of life. Contrarily you may experience reflective occurrences and your attitudes towards life may alter to adjust themselves to be kinder after learning the craft of Acting. Enjoy your own journey. Learn how expressing what is inside of you alters your reality rather than following what others think is right or wrong for you.

Why Study Emotional Preparation
Simon with ‘Some’ of his notebooks

Why Study Emotional Preparation Forward of This Book:

This book has come across being written because of falling ill and suffering from double concussions and brain atrophy due to an assault from an industry actor/student. This book would never have been as thorough as it is without the time away from classes and dealing with an ailing head/brain injury.
Thankfully the work was so ingrained in me by my studies that the information and experiences were still able to be activated. The world works in mysterious ways. I hope this book helps many and furthers the education of acting in general.
Understandable that life’s anguish leads to brilliant expressions help to cope with the pain of it. By writing this book I was able to overcome injury that I may not have otherwise achieved health again after encountering. By directing and expressing deep life into these pages I was able to include real life circumstances in the work and relearn how to extend my concentration. Perhaps the fault and incident of the student’s assault was a blessing in disguise for others to learn this work.

Exploring the difficulties in exploring real depth of emotion means finding a safe expression of its internal conflict. Real Artists and Actors have to find a safe way of emitting what is internal. The artistic work crafted causes the neurosis to unfold rather than tighten. Expression follows unfolding neurosis because it is released rather than held back.
The goal of Acting is not acting out (pretending) but expressing out from who you are and what you are feeling. We will see example after example of how students and Actors doing this work will find their intuitive impulse and then release their neurosis or human expressions. Why study emotional preparation is the key question to unlock your talent.

NOTICE:
Throughout the book there will be divided multiple sections. There are participating actual classroom experiences. You will be able to learn through witnessing your fellow classmates work or as an auditor within the classroom. You are able to have both the views of the students and also the independence of your own thought processes as an onlooker of the situation.
The novelistic reader is a fly on the wall to the witness of both the activities in the classroom and the personal journeys of the students. Personal Journals of the students as they learn the work and express their honest opinions about first learning the techniques are brilliant real-life examples of what students really experiencing learning the craft of Acting. Being able to glimpse the realistic writings of the students available the reader for the learning of all.
There are also sections on the philosophy and the explanations of the work being done. The teacher goes in depth to answer the questions of the most common acting questions and the personal questions from inside the classroom.
Find your own way to learn from this book. There is no right or wrong way to read or digest the information.

END WITH ,
An Optimistic Approach
Goal of Emotional Preparation / Book then Overall of the Learning
Types of Preparation /Learning
Different Students Learning and Experimenting: /16-20 students’ book
Specifics of the Learning, Catalogue of Index (Learning Steps only)
(Then, have each student introduced as they work with more detail).

Working Title Considerations:
Emotional Preparation A-Z:
The Artists and Actors Guide to Inner-Life.

Emotional Meditation Technique vs Emotional Preparation

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Why Study Emotional Preparation

Main Terms Index is further detailed in the back of the Book.
Teaching and Learning Acting is a doing thing not a reading thing. However, if you understand the breakdown of sections of what it takes to do good Acting than you can learn by reading a book about acting even though Acting is a doing process.
There are some new terms in this book. It is time that Acting is looked at in a fresh way.


“Every Actor who empowers themselves by adding Emotional Preparation processes gifts themselves their internal talent back into their external work. It is the process of learning about yourself in a way that actually gets the power of your unconscious into your conscious work. Emotional Preparation literally is being able to select outcomes of your work by selecting what you input into your work. “

Main Goal:
To have the emotion when you need it in your work and to not have it when you are not doing the work.

Both Goals are Important
If you gain the ability to be able to access yourself during your acting and to be able to relax your responsiveness in life you will function better as an Actor. If you find yourself unable to let, go of your responses during acting after acting it is a normal occurrence. As you develop and mature yourself in acting you decipher an ability to not be affected by what affects you in your acting work as reactively as in your life.
Developing your own answer to Why Study Emotional Preparation is essential for your training as an actor or musician.
Gain the aspects of both Goals as you learn acting to be able to keep yourself from developing neurosis or neurotic tendencies. Acting is not about building up neurotic behaviors at the cost of losing your ability to function in life.

Additional Goals of Emotional Preparation:

Consistency             Timing      
Accessing Emotion       Bringing Craft to Acting,  
Being Present           Being In the Emotion while in your experience
Appetizing your Emotions        Gaining Experience of Prior Event
Being in an Alive state     having an undercurrent beneath the words
Adds experience     gains maturity into your acting. 
Bringing Emotion into active Doings Encompasses Multiplicity (more than one thing can occur successfully)

Emotional Preparation is the deliberate coloring of the undercurrent beneath your present state of awareness or occurrence. It can add the spontaneousness back into your work and support a relaxed give and take so the Actors can really be present and alert with each other. Emotional Preparation can bring the gain of a prior experience appropriately into your work. It does add the maturity of life in your Acting.

Why Study Emotional Preparation?

1) There are many reasons why to study Emotional Preparation.
When you study Emotional Preparation, you become empowered as to how you feel at a deeper level and sharpen your abilities to respond while in situations. Your Emotional Preparation work will also sharpen your life experiences and make you more aware of who and what you are wanting to associate yourself with.
You may be asked to work in topics or with people that you would not choose to work with in the classroom and being honest with yourself about why could really help your work even though it could offend others. Acting is the exploration of how we actually feel not the pretending of how we should feel.
With Emotional Preparation you gain a certain control of self which allows you to feel in fullness what you experience but holds you back from actually doing anything that you don’t consent to. You learn emotional logic and emotional restraint but with expression with how you feel. Nothing in you gets suppressed because it is finding a way to openly exist with your Emotional Preparation layers.
Answering Why Study Emotional Preparation starts to give you the acting tools needed for your own success. Gives yourself the emotions needed for your acting work.
This means that you keep your personal expression expressed but learn new muscles in holding back the offensive comments that you really might like to tell someone with still expressing the depth, but you don’t consent to telling them.
Being able to express the depth without the action is an artistic quality of a professional Actor. Nothing in Acting is forcing you into any actions without your instincts directing you. This actuality is the reason why some Actors can actually use stage directions flawlessly without issue. They allow their instincts with Emotional Preparation to decide the timing and they fill themselves up with emotional expression. The main thing that Emotional Preparation does is allow a fuller and more honest expression.
2)-With the addition of Emotional Preparation you will be able to justify where you recently came from when entering a scene. Being able to truthfully carry the emotional weight of where you were scripted to be coming from with you enables the full life experience of the scene to be set in a reality that Emotional Preparation allowed it to be in.

Holding less stuff inside from being felt and holding back from saying something offensive because you choose not to tell someone something that they may find offensive is the divided line between understanding actualism and experiencing realism. You want to actualize what you feel but you don’t want to offend someone by what you feel about them.
Understanding Why Study Emotional Preparation allows you as an Actor to find that comfort line with the audience about what you can and cannot express as an artist and Actor.
In some venues for Acting the line of reality and actuality is very fine and the audience might be very stiff, but they will still remain open to the unspoken realities of the Actors self which the Emotional Preparation will help ensure. Other venues want raunch and overt offensiveness and Emotional Preparation will ensure that you have more than just gag appeal with the audience in those venues or in those films.

 Goals of Emotional Preparation: 

Goal of Emotional Preparation is that by adding the process there is a realism that would not be there without adding the process. These additions would not normally be in your work without adding this incredible and elusive process. These are also really great reasons to study Emotional Preparation in Acting.

  • Behavior that was not present in the Actor prior to doing their emotional preparation are now present in their acting work that before did not exist.
    -that someone who didn’t know you as a person or know your life story would believe that you have a different life history than you actually do in life.
  • This is the victorious moment as an actor when the audience might believe to themselves that a real felon had been cast in the movie because it is so realistic and real to life that experience is for the audience real enough and alive and fresh enough that they do believe the Actor is a living person inside of the circumstances.
    Examples With Preparation:
    (at least one example with preparation_)
    (without that Emotional Preparation that work would not have been what it was with it. _)

Teachers: If you are working Instinctual techniques allow the students efforts to unveil their true instincts and feelings. The quicker you get into the experience and past the intellect the better the classwork will become. Remember, you are the guides that will help the students learn where their own instincts are.
It is important to assist the students in finding their instincts by comments you make after they have their acting experiences in classroom work. Typically, at this time you have already given the students a real time opportunity to identify themselves with what is stimulating them. Guide the students’ instincts, not their intellect. Guide the students on why study Emotional Preparation.

Emotional Preparation does not mean Performing Emotion
Emotional Preparation has an emotional effect on the Actor and thus the scene. This does not mean that it interrupts the scene, but it may become part of the scene. The real time event of a scene occurring must still exist even with use with Emotional Preparation.
However Emotional Preparation is not an overpowering element that overtakes the work or the reality of give and take between Actors. Just because you are using the technique it will not mean that entire work will be about emotion. In the contrary, the emotion will support the reality of the give and take between the Actors. The emotion will support the scene as the scenes happenings still continue to be ongoing scenario.
There may be parts of the scene where Emotional Preparation will activate and become really expressive, but the interaction is the catalyst of the expression in most cases. Surprises continue to happen regardless of the Emotional Preparation of the scenes and the real time occurrence of the event of the scene stays ongoing.
Many times, during the occurrence of the scene the emotion may stay in the background of the scene or happen continuously with the scene in a freeway and of free accord. The fluidity of the emotional elements freedom in the scene is its function which intrigues the scene to add interest.
Emotional Preparation really means alertness. If emotion carries through with Emotional Preparation, it is an added bonus and not a necessary ingredient. The correct use of Emotional Preparation will cause an awareness or alertness within the Actor.

How to Utilize this Book

Is Acting Intelligence is Instincts or Instinctual Intelligence? Or is it Both.

How to Utilize this Book
Topics Covered:
– 14 different instructions how to Emotionally Prepare
– How to Audition
– How to do a Scene
– What Technique Is For and How It Works
– How to work with emotion in acting
– An Optimistic Approach
– How to bring emotional experience into a scene
– Goals Of Emotional Preparation

This book will cover both how to Audition and How to do a Scene. It is made to be a reference and teaching instructional of a very private and coveted topic, Emotional Preparation. Adding Emotional Preparation to your auditioning and scene work will exceed your own expectations (and results) in your acting work.

Many teachers of phenomenal methods in Acting, covet their instructions and fear giving away “Pearls to Swine”. Information in this book is often not given to students during their lessons because the teachers take the approach that the lessons have to be earned before they are revealed. This has been the true to the topic of Emotional Preparation for many decades. Little known about Acting secrets on how to learn to cry on cue or how to emotionalize yourself towards scenes are revealed here.

Giving these Pearls of wisdom to all is the way that we will keep the knowledge flowing between the Artistic and Acting folks. The Artists and Actors that are interested in the principals of Emotional Preparation will notice differences in their work. By actively, absorbing this book allows an Actor to learn acting principles in written format and by exampled principles.

There have been many an argument that instinctual work should not be shared with the general population because of what actual real-life accidents they may discover about themselves or additionally how someone may choose to use their instincts work. Regardless of international geopolitical influences the art of creation is more important than the politics of restriction. It will be an absolute miracle if art is not destroyed in the next 100 years due to efforts that restrict personal exploration.

How to Read this Acting Book

Please feel free to read the book in any order you wish.

The book references allow you to read entirely through like a novel or to gain the information that you need at the time. Real life stories of students learning can be read through or skipped past. If, however you are interested in a particular topic, you can utilize the index to skip through the book to read wherever that subject has been addressed. Some harder to understand topics may be better understood by reading novelistically, and then returning to the subject through the indexing features.

(The Index sets up the pages as an incredible referencing tool, so you don’t have to read page for page through the book in the order to gain insights. The book has been published to be read in sections or to sit down and read in novelistic form, both.

Additional efforts have been put forth so you can Utilize the reference and book in ways that you can easily find most of the segments or interested topics just by indexing. Additionally, the Index leads to explanations that are harder to understand concepts for some but could be already familiar concepts to others. )

The book references allow you to read entirely through like a novel or to gain the information that you need at the time. Real life stories of students learning can be read through or skipped past.

Each Reader is invited to Utilize the reading of this book in their own unique way as much as possible. The point of the printed materials is to allow the unique reading styles of different people capable of accessing the information within the book. It is important to be honest with what you understand and what you don’t as these pages have taken a couple decades of work to assemble. All processes of learning are acceptable, so please don’t judge the way you learn or utilize the book.

This reference is designed to give you what you need as you read the principles of Why Study Emotional Preparation and delve deeper into your already existing instincts or brand-new awareness. The Goal of this book is to give realistic examples and instruction on how to utilize yourself and your inner emotional life in your work as an Artist and as an Actor.

Intuitive Acting Studio Centers – Business title
Acting Studios that work with Intuition
Intuitive acting studios work in ways that explore instincts and the inner workings of an Actor rather than focusing on performance executions of the scenes. Teachers guide the students through intuitive adjustments to color the happenings throughout the scene-work.

Emotional Preparation is a difficult to find training tool. While many acting studios train in boutique style intuitive acting approaches, only a few of them train in Emotional Preparation techniques. In part this is because, it is hard for actors to acquire the self-trust needed to learn Emotional Preparation. Overall instinctual work may exist, but the specific training of Emotional Preparation is sloppily taught or completely missed in most, because it is difficult for actors to acquire the self-trust needed to learn the technique successfully.

This book attempts to fill what is missing in general education of Actors with well over a decade of experiences watching actors working with Why Study Emotional Preparation techniques.

Move?——Playhouse West in North Hollywood, California has been a home for my studies for well over a decade. While the school has influenced this book, the notes are not from any specific teachers in the classes as this work is my understanding built through other schools, directing, acting and coaching experiences though the years. That would need to be its own book because the number of materials fills more than multiple banker boxes full of notes, some double sided. A general understanding of the work done there as well as other similar studios is offered in this book.
Back in L.A. Since 2004.

The Philosophy Of Emotional Preparation

“An Optimistic Approach”
(the fine line of the reality of optimism.)
There is a need particularly when it comes to Why Study Emotional Preparation to find more patience within yourself. An optimistic approach to learning is much more important than a highly motivated student. An optimistic student will likely be more ready to accept what they are learning for what it is and build upon it. Finding an Optimistic Approach is the rest of what is needed when learning acting technique.
You need your instinct and permission to allow yourself to express, and you need an optimistic approach to learn from it. The topic of Emotional Preparation is an intense lesson. The order of learning can remain self-evident to the learner if they allow themselves to open to the experience of how they are influenced when they are working. This simply means that there must be a journey of self-discovery happening in any real learning situations.
The real time scenarios of the acting class set the tabletop for Actors to learn about both themselves and others. The more you are learning about your partners, the more you are learning about yourself.
Artists just like carvers that need to have an optimizes in order for any achievable product to be possible. An Actor must allow their optimisms to blind faith their approach before results is actually seen in their work. Trying to achieve anything with stressed out approach or concern about how others take you in will restrict your ability to receive others. An optimistic approach lets go of your insecurities about yourself and take efforts and turns them into more tangible results. Actual experiences will happen and that is part of the training.

The invisibility of the actors’ approach is their invisible faith that grants them their inner guidance, which is their connection and relation to their own instincts. Their connection to their own instincts turns their artistic efforts into outputs (or expressions) that can be perceived as reality of work done.
In actuality optimistic efforts continue to improve themselves as people improve their optimistic approaches on their artistry. With optimism the thin layer of necessity starts to form which takes away the friction of being in an altered imaginary environment. Audiences will see the clarity of self in the actor because their layer of trust has allowed for that clarity. It’s vital to understand the optimistic approach in Acting.
You may not know how it is going to turn out when you are working but you know there will be a result and that to begin with is all that matters. Nothing will become something because of your trust in optimism.
Getting the Aire of Intent with your effort in a way that is likely to work for the better but not guaranteed is the flair needed to approach learning the craft of acting and having that flair become your instrument rather than hindsight. It is the optimistic approach which can become the Actors greatest allies while learning or during phases of expanding their part during rehearsals.
The Instinct is a clunky thing to learn. Your attitude is your choice. Most people are unfamiliar with their own instincts especially at the level that is needed for Acting and the Arts. Your teacher will help you work through learning your instinct. This book will help you learn about getting through becoming familiar with your instincts.
A good attitude in learning is the easy ingredient to add without the need to feel that you need to have any certain type of motivation. Gut interest is enough of a motivation. The work in this book will be motivating enough and stimulate your instincts enough without needing a knowledge-based motivation. Your motivation will change throughout the books sections and so will your intrigue into certain topics within the lessons. Intrigue is the guts interest in what they are experiencing which is a fine motivation to begin training with. Just keep a good attitude of Optimism.
Lastly, allow your good attitude and optimism to hold your attention until the moment of intrigue from the gut level occurs. Having an optimistic attitude means that you are allowing yourself to be certain that a gut response will eventually happen and that you will have something to work with. One gut wrenching impulse is all that is needed to get the involvement started. But start with optimism that you give over to an internal intrigue from the gut level and you will never steer wrong in this instinctual work. The confidence is the certainty that something at the gut level is possible.
Letting go of the need to know the direction that your experience will take is a helpful hint that will also relieve worry from the experience and add in the ability to have an optimistic outlook. An optimistic outlook is an open outlook with a slight bit of positivity and a willingness to give over to an experience. Obviously, given over to however you feel as soon as the gut responses start in your work. Do not hold on to an optimistic persona during the work but as an overall attitude about the work.
Optimism affects the outcome with more favorable occurrences happening.

When to get a Mental Understanding _Keys to understanding
The key to understanding a scene is scene study. This scene study is not a spontaneous self-study of your work before your acting work commences. Scene study is the logical understanding of the scene and the meaning of the scenes which may likely include conversations with the other Actors or production crew.
Initially in classroom work you will not have to work with scenes in most intuitive teaching style classrooms. When you get to the level of dealing with and working with scenes you do take the time to understand the material mentally. Gaining mental understanding of the script is a fantastic ally to you as an Actor.

Using your Emotional Preparation time, which is the time set aside in technique to stimulate your emotional abilities is not the time to mentally wonder and consider the work you are going to do. Emotional Preparation time is not the time to mentally consider your motives, it is a time to stimulate your motives.
When you are working with understanding your materials you can explore the mental meanings and significance of your involvements. You want to do soul searching if your mental understanding of the work coincides with how you feel you would practically be within the scripted materials scenes.
There is no part of this book that is intending to persuade anyone not to do the mental work of the Actor. It is very important to understand your concepts in a mental level of understanding. The clearer you are in understanding yourself and your part the more available you may be able to be when it comes time to give yourself over to the part. Emotional Preparation is the time to give yourself over to your involvement in the part. Involvement means emotional stimulating.

Important side Note:
Put it out there that this was a product of. It goes to show you, that even with knowledge and over a decade of study in one studio plus an additional decade before of studies that no one paves your own pathway for you.
This book is a pathway to not only express knowledge about acting, but also to explore relationships of Actors with this work. When I could not teach, I was still able to teach by the means of writing this book. That brought me enjoyment and renewed my senses in acting keeping me sharp in a certain way. It was also fascinating to uncover the work by memory without reviewing notes that structured the book outlay.
Later on, examples were added with immersion into classes that gave some addition to story lines of the students/characters in the book.
This book is an amplified version of the classroom learning with lesson after lesson compacted in an organized yet realistic way. Many classes referenced to see such work took many trips to achieve comparison because often class sizes were diminished in the real-life examples studied. Usually there were no more than 10 or 12 students in the classrooms attended. Many classes would have 6 – 8 students pending upon the year in study.(?).

Emotional Preparation Chapter Index

Key: Emotional Preparation is the Improvisation Approach to Self Stimulation.

Utilize this book in different ways.

Read Classwork sections first.
Read individual Classmates first.
Read Emotional Preparation Techniques first.
Read Definitions in the back Index first.

Let yourself explore these pages as you discover them. Do not feel that you have to follow any format while reading to understand its concepts.

Different Techniques of Emotional Preparation:
In this book we are going to go through over a dozen different types of Emotional Preparation when normal classroom will teach only a couple different methods. It is important to realize our own inner life or inner interests in this work.
We want to use techniques only to reveal more about ourselves. Break the rules of logic and go with what your intuition is directing you to do. Work in a capable way of doing so we don’t leave our opportunities in Acting unexplored.
If you explore consistently, you may even find a unique way to do your own Emotional Preparation work. The following techniques guide you to comprehend the concept with a starting instruction of how to discover for yourself how to develop your own Emotional Preparation Technique.

List all different types of Titles of Emotional Preparation. Understand Why Study Emotional Preparation with your own understanding.

Examples:
Technique 1: Relaxation
Technique 2: Traditional Use and History of Emotional Preparation
Technique 3: Confessionary & Personal Secrets Preparation
Technique 4: Simering
Technique: Changeover Step
Technique 5: Recalling Real Life Experience, pg85
Technique 6: Assisted Emotional Preparation
Technique 7: Imaginary Emotional Preparation (Day Dreaming)
Technique 8: Researched Life Preparations
Technique 9: Past Life & Channeling Preparations
Technique 10: Combination Emotional Preparation
Technique 11: Group Emotional Preparation
Technique 12: Experimental Preparation
Combining, needing a clear and cohesive vision, pg 116
Past Life Recall, pg 119
Channeling aspects of another person concentration on aspects of another person. Emotionally adaption of their familiarities and traits. , Pg 122
Group Emotional Preparation, include ability of using Rehearsals as building exercises. , Pg125
Active Memory – /? ?

Additional Topics:
The Law of Attraction in Acting
Emotional Releasing
**Releasing Emotional Preparation after your Acting work.
(The Most important part of Emotional Preparation is releasing the baggage, so you do not have it active in your life once you use it in your Art.).

Both also individuals doing similar things is a group rehearsal, also the group rehearsing as a unit.
“Deaded Emotional Preparations”, the impulse to want to tell your prior story rather than the experience your reality. With the exception of passion, pg 128

Topics:

Chapter Index – Categories of this book by General Index:

Chapter 1 About this Book, Getting
Chapter 2 Introduction to Emotional Preparation, Muscle Memory and Therapy Techniques.
Chapter 3 The Emotional Journey or the Journey of Self Experience
Chapter 4 Being Present with your Emotional, Releasing Presence

Chapter Technique 1: Relaxation
Chapter Authors real thoughts and opinions of original concepts

Chapter 5 Constructing your Emotions
Chapter 6 Emotional Terminology
Chapter 7 Turning off your Logical Self
Chapter 8 Amateurs use Feelings, Professionals use Meaning
Chapter 9 The Choosing of Meanings
Scene without knowing others dialogue

Chapter 10 Traditional Use and History of Emotional Preparation
Chapter 11 Technique: The Steps to Emotional Preparation.
Chapter 12 The Discipline Death Wish

Chapter 13 Matching the Meaning to the Scene
Chapter 14 Technique: Confessionary Preparation
Chapter 15 Technique: Personal Sheep

Chapter 16 Simering Emotional Preparation
Chapter 17 Technique: The Isolation Exercise
Chapter 18 The Viseral Warning, Things are about to get Real.
1st read _1

EARN Money. Get MONETIZED!

Chapter 19 Technique: Real Life Recall
Chapter 20 Technique: Assisted Emotional Preparation

Chapter 21 Imaginary Additions or What If’s
Chapter 22 Technique: Imaginary Emotional Preparation
Chapter 23 Technique: Combined Emotional Preparation

Chapter 24 The Interactionary Period
Chapter 25 How to interact with others after Emotional Preparation
Chapter 26 How to interact with circumstances after Emotional Preparation

    Possible - How to Have 
    Identifying your Emotional 
    1st read  _#2. 

    Conjuring Emotion
    Layering Emotional Preparation 

    Abusing emotions and 


    Past Life Preparations 
    Researched Life Preparations    

    Group Emotional Preparations
    why study Emotional Preparation

Chapter 6 1/2 Technique: Visceral Results and Visceral Emotional Preparation

Chapter 7 2nd technique:

-ADD – INDEX OF CHAPTER INDEX TO BOOK –

The Initial storyline of the book follows a young man and later a young woman who both end up attending the classes. These Two main Protagonists in the storyline disclose their own failures and successes with their classmates and in their own relationships together.

Matthew, 19 year old guy – part time job at the lumber store.

  • Switches out a job to add to part time restaurant work. –
    He’s out of highschool wanting to get out into the industry to learn, has done two school plays,
  • Asks teacher – if he should try to do extra work to get time on set.
    Teacher – this isn’t the old days, its not a bad idea but it will take away y — recommends staying in classes and focusing on it. But leaves the options open to the student.
    You may find that it benefits you to stick with this for about a year or so and then start doing all the other stuff. That way the habits will integrate in you and you will have a more solid foundation.
    My advice is get into something where you can be involved. But the reality is that you are so new to establishing habits, so the more you will habitualize these principles of working the better.

= Particular interest with storyline. Questions that he has about acting.
List his questions –
His not realizing fully that you need to work from self.

The “Self” is the hardest to work with than working with others. This is why I will take a liberty to understand that it takes more energy to heal yourself than others.

Emelia, 24
Native American female, left community to learn acting.
Leaving the Sovereign Tribal grounds where she had no rent or financial difficulties means that in her pursuits of Acting, she leaves all stability behind herself in her quest to find herself in the Arts. She is additionally shamed and threatened periodically by her own tribesmen and woman for thinking she is special enough to become an Actor or Actress.
She and Matthew identify with each other despite their age differences as Emelia has lived a sheltered life compared to most. Both Matthew and Emelia find the ride of participating in Acting enthralling as well as terrifying at times.

Authors Thoughts:
Those who work harder to heal others more than themselves usually just dont give themselves enough time of self reflections.

—————————————
(Storyline of my life has to be included in these pages in appropriate ways that can communicate the original concepts of my own minds creation. More of my background and life experiences will need to be understood before I can actually publish my own biography which I do not give permission to be an auto – biography.
My background of my own life I am capable of communicating in the situations that I am currently involved in today.

and more of his background. Not too much though, just enough.

Teacher – the more you build a consistent work effort the more you will regulate your acting efforts.
Student – so you’re saying that the classroom environment will offer that.
Teacher – yes, it does.

  • We don’t learn the dynamics of Jason until we see the dynamics , him finding them in his work.
    Riddler’s son/?

Teacher – you are new to discovering who you are as a person. This is a grand time to take acting and discover what actually activates you.

  • This is important lesson –
  • Gets us all on the path of finding our own dynamics rather than qualities that we think ourselves to be. )

Meet Your Classmates

Meet Your Classmates:
We follow the lives of 18 students in this book. We learn from them, we see them in classes and also read their journals about Acting.

All the experiences exposed in this book are for learning purposes only. There is no time for poking fun or mocking students regardless of what they may be experiencing. The faster that it is accepted that Actors during learning Acting go through ridiculous experiences the quicker we can get down to learning from all that happens in the classroom. Have fun learning with the classes and personal journaling confessions.

Options for reading the student experiences are with the techniques explained or separately by following the students individual Codex of pages, which is located at the back of the book. Each student has their own pages referenced and pages recorded. You can follow that Student Codex to follow each student learning throughout their experiences without reading the rest of the book.

Please understand that it takes almost all types of people in the acting field to be able to meet the desired genres of audiences. If you have a unique point of view, you will likely have a marketplace. The lives and liberties of the students are widespread in experiences which is realistic to what is actually happening in real life acting classes around North America.

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Each Student has different dynamics of learning, and each will find their own processes that work best for them and sometimes find processes that don’t work so well for them. Each student understanding why study Emotional Preparation.

There are 17 different students that we will example in this book.
List (in order of appearance) : – this is like a screen credit list

Role Call,

Matthew, 19 year old , Osh’s lumber store
Susanne, 23 yr old, Is Cafe barista
Mark, 36, Plumber
John, 23, former athlete
Josy, 16? – Theater Acting groupie . Parallels bookstore owner
Ashley, 22, young dancer
Gary – gains access to philippes collection and sculps it. – **
Larry, 56, sales investor, venture capitalist –
Rebecca, 23 amusement center worker
Angela, 24, studying accounting
Sarah, 21,
Nora Sofia – market specialist – researcher interest rate expert.
Emelia, 24,
Micheal, 25
Andrew, rockstar musician son.
Alice, communications specialist
Philippe – knowledge of languages. bookstore owner. / ? ?

List Each Student here and a general description:
Name, Age, Dynamics, Description/Interests

Matthew, 19 year old guy – part time job at the lumber store.

  • Switches out a job to add to part time restaurant work. – (Showing what he is willing to do to support acting with side jobs).
    He’s out of high school wanting to get out into the industry to learn, has done two school plays,
    That way the habits will integrate in you, and you will have a more solid foundation.
    My advice is getting into something where you can be involved. But the reality is that you are so new to establishing habits, so the more you will habituative these principles of working the better.

-THIS – is the story of a young ambitious person attempting to ask a lot of questions about acting in an effort to become an actor. After reading an article “Why Study Emotional Preparation” Matthew finds an acting class.

  • Audition, scenes, industry questions.
    = Particular interest with storyline. Questions that he has about acting.
    List his questions –
    His not realizing fully that you need to work from self.

Susanne, 23, Café Barista, Acting Repertoire Night Classes

  • List what each student has going for them to start, then reveal their troubles.
    (Pages 38, 64, 86, 104, 118, 160)
    Susanne’s mother died just recently and has found herself rather withdrawn from people. Her father had died at an early age and she is the only child. She is hoping to be able to spend more time with people and learn the craft of acting. She works as a Cafe Barista where she has worked for more than seven years. She sometimes steps in to help manage the Cafe when her boss is out of town or on vacations.
  • Layers of herself. , Enjoys knitting, has a point of view that is excepting of people, quiet, very diligent in her job, thorough person completes tasks till they are finished, wants a relationship with a man but doesn’t admit it enough to herself to find one, very reliable, honest with others, understanding.
  • Is kind.

MAJOR KEYS:
Struggles to let go of prior experience, Concern of how the other feels oversights what they actually do. Believes others are in emotional states that and won’t work off their face values.
(This is interesting – qualities of an intravert).

Dynamics:

  • Add this section for each individual student.
  • Plump but very photogenic.

Mark, 36, Married Plumber, Acting Repetroire Night Classes

  • List what each student has going for them to start, then reveal their troubles.
    Mark is a married Plumber. Keen to customer service and always paying attention to people in life. He wants to try out acting after having a long-time interest in films. There are a number of film festivals that occur in his town of Burbank, California and would like to learn acting enough to be in an independent film, even if just for a festival. His great grandmother was a silent film movie actress back in the day.
  • Layers of himself. , Hardworking, parties on the weekend., likes beer, like to escape reality, sincere, has old ideals of how people should be, hasn’t been exposed to the new generation of youth too much, doesn’t have a daughter, trying to have a baby with his wife.
    (Thinks he is patient, thoughtless to his wife at times,

MAJOR KEYS: determined to make everything work, hardly ever admits that there is a problem that needs to be fixed,
committed in marriage regardless of his desires (this needs to come out in his work as he feels attraction with another lady in a scene and stops it.).
Teacher – I tell people sometimes who are married to behave in acting like they are not. Does anyone know why that advice might be really helpful to Actors?
Student – so they are more open to their scene partners
Teacher – exactly!

  • Could his experiences lead to an affair with a lady student? And an almost divorce. Is there time to go through that type of arc.
    Teacher – acting has really shakened up your life.
    Student – yeah, I almost got divorced because of it. ? Or do the cierra and jim scenerio?

MAJOR KEYS:
Each student – what dynamics they uncover – what do they discover about themselves and how do they discover their dynamics.

  • This has to be the way that we uncover the students to discover who and what they are.
    **

John, 23, Former Athlete

  • List what each student has going for them to start, then reveal their troubles.
    Career ended with an injury in College football preventing him from going Professional. Never to return to football again. Was a receiver.
    John admits that he doesn’t know what to do with his life currently. He is wondering if he will be able to learn acting or not as an option for a second career.
  • Layers of himself. , Tells people what he thinks whether they want to hear it or not, opinionated, usually gets what he wants, demanding, outspoken personality makes him clear to others, doesn’t waste time with people normally, competitively driven, teamwork is only on the field in the play of the game/not in life, surprisely polite, determined to win at acting,
    Really enjoys conquesting ladies. Talking to them like he knows them. (This is part of his life experiences that he brings over into the storyline).

Story – hitting on some woman and woman replies. “You don’t know me”. Him – I thought of that a while and then I realized. She was right, I really didn’t know her. I was trying to get to know her, I think.
Confession section – John saying that he has nothing to confess. Making a fuss over this exercise – then it hits him while driving, he sees something that reminds him of a memory. – Finds his confession for his exercise.
He was more concerned about impressing the girl than realizing who she was as a person. This for John is a very large realization and personal growth aspect. He never would have had such human development if it had not been for the inner searching of the acting class. Why Study Emotional Preparation.

MAJOR KEYS:
Efforts to his ideal to the fault of his process.
Perfects his technique to the failure of his progress. Fails to realize the ride the other is offering to them. Doesn’t want to take the road offered him by the other person, instead wants to create a road of his own through the other persons desires.

(Pages 52, 73, 97, 116, 169, 182)

Josy, Josephine, 46, bookstore owner, part time student Acting Nightclasses

  • List what each student has going for them to start, then reveal their troubles.
    (Pages 36, 54, 79, 92, 112, 150)
    Josy works at a bookstore called Parallels bookstore, “where facts find Fiction”. Her family has a history of survivors from ww2 as immigrants into America.
    You can read the book straight through, by topic, or by each student’s experience.
    She is a sort of peculiar lady who loves reading. She owns her family’s bookstore that she runs with her husband who is quite a bit younger than her. She is outgoing and often see’s most of the plays around town in Pasadena, California. She attends church but is not very religious, more often attending during holidays.
    -Examples need to include going to see some shows and theater productions in classwork segments.
  • Layers of herself. , Peppy, usually upbeat and tries to keep others upbeat, very accurate in business, calculated person, likes to wear interesting glasses, often speaks behind others back what she wont say to their face, very literate and well versed on multiple topics, very little that she knows nothing about, gets caught up in interesting stories more than emotion, gossip excites her.

MAJOR KEYS:
Dynamics of getting off when things are organized. Versereal quality.

  • Honest connection here as well. – Doesn’t like surprises unless she knows what they are.
    -Plans her reactions during scenes at times because she had read the materials ahead –
    ?? – Doing the scene without knowing the others dialogue – ??
    Add this one exercise –

Dynamics;
Sharper temper than is aware of, judges others,
Set in her ways, very spontaneous and open to others

  • Starts ordering and reading every “Sense Memory” book and information that she can get her hands on.
    Quits because she wants to marry her emotions. She gets caught up with being emotional rather than being interactive. It is not a bad or horrible thing, it is just not what we are doing in this class – teacher .
    Teacher – The funny thing is that when you let go of your own emotional life and focus on the other your scenes really work for you. When you don’t things really don’t work for you.

-Ashley Talia , 21 – Young dancer did balerina training – female – (Consider a dancer rather than writer)

  • List what each student has going for them to start, then reveal their troubles.
    Add – A book editor/writer in spare time. Audits books before publishing and has been an author or internet publisher. Who has written blogs and news articles for Politically based Independent Media News outlets.
  • Quits because they say their improvisation , writes a better story then the playright. Wants to stick with performing. Not their first acting class.
  • Experience – going to see dance performance, and realizing similarities and also differences with the classroom scenes –
  • Also ? Some dancing experiences with friends, who say that she has changed, which she credits to her acting classes – later on.
  • Layers of herself. , Very smart, a great researcher, never shares her opinion until she studied the topic thoroughly, well organized on intellectual topics but her office is a mess, single, can’t sort herself out to include a man in her life, believes in liberism, womans freedom activist, gets caught up emotionally even in non emotional topics and situations,
  • She gets tripped up out of thinking that the acting is a dance to perform. Teacher says – I wish that your repertoire of experience in dancing consisted of improvisational dance rather than classical training. It would be more helpful to your acting.
    Student – what the student is thinking – she smiles to him.

MAJOR KEYS:
Gets caught up in the emotion (examples that show her gaining those as abilities rather than liabilities)
Classical training is very proper to her demeanor, she tends to be over exaggerated.

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Gerald Grey , 39
Add – an artist, painter or sculpturist.
(Struggles with the life of the other person not being foldable like clay)
(Teacher – this is interesting, you can’t tell the other how to be. Example – in this scene you are trying to correct the other rather than recieving what the other is giving you.

  • Layers of himself. , A ladies man, a real classic gentleman, charmer, enjoys wine, has been around sculpting since he was 15 years old, is very skilled at his art, is non-committal in relationships, has had more than one relationship at a time due to his own indecision, is used to impressing someone till they submit to his desires, is looking for a mutually good time, friendly, expressive in ways that can be unsuspecting, constantly creative, creative thinker

MAJOR KEYS:
Expects other to do what he instructs, is used to waiting, usually operates with some sort of plan/needs to learn not to (in acting).

  • He struggles to be with the spontaneous moment because his patience is usually over longed.

Larry Scott, 56
(Have to add that he steals in book )

  • List what each student has going for them to start, then reveal their troubles.
    (Father was involved in geopolitical aspects internationally. Stuff that had left Larry very clever but heavy like a cleaver) He is used to getting his way by using his wit to convince the other of his need or service. He has knowledge of art from his father and his father’s international travels.
    Add – an artist exhibitor who sells paintings with curators.
    (Acts more like a venture capitalist, has dabbled in finance before some changes occurred in 2008.
  • Taking the class for something to do.
  • Examples of artistic talents, also some Greek histories.
  • Layers ., salesperson, focuses on business relationships, loyal to one relationship at a time, never commits to marriage, real long talker, can sell ice to eskimo, is able to make something happen from nothing, very convincing person, always thinking about money, always calculating others possessions and value of their worth
  • Sales tactics, constantly looking for acceptance.
    (Grand moment of realization of realizing that he is constantly looking for acceptance. Father figure acceptance. – Works out of that after he realizes it for several classes. Student – when I make that each sale, it is like I get a piece of small acceptance from my father. That’s the reason I so seek others approvals. )
  • He gets surprised at the rich life experiences that he falls into with the work. He doesn’t expect to have experiences consistently that “feel like he is floating inside, with something going on”.

Rebecca , nicknamed ‘Becky’, 28 , fair amusement park attendant
Add – someone who works at a fair or amusement center. Rents a place in the valley with her boyfriend. Lives in the back part of a house nearer to Sunland, California.

  • Layers of herself. , Really enjoys fairy tale classics, a stable employee, enjoys being around children, has a boyfriend but can’t really afford marriage, hoping for the ability to pick up parts in acting as a second job, lived around the entertainment industry her whole life,

Understands children and children’s impulses compared to adults. This colors her work to be very alive in her scenes. She is dirt poor / but happy. The importance of being child-like for Adult actors one ready why study Emotional Prapration.

  • She books a commercial for toys r us. Without auditioning. ? Or private audition.
    Because she was talking about being in acting classes. Gets 30k commercial with national circulation during the class time. (Which is exciting). She chooses to buy one or two nice things and continue to live towards her dreams. Still lives in Sunland.
    She gets married near the end of the book.
  • Her struggle is that she wants attention from childhood. She learns through classes that she can trust to give over to the other person. And she grows up in that way.
  • She demands attention from the other in the scene . This both works for you and against you as sometimes your demanding attention creates this unnatural atmosphere in the scenes you do. Instead, try to put your attention on the other without demanding that the attention must remain on you. Changing this is an element of trusting yourself and your own sensitivity to the other. Be brave and make the connection in this deeper way and you will reveal what the other brings out in you.
  • She belittles people by treating them like a child rather than an adult. Struggles with fair exchanges with people. Often playful dealing with serious conflicts.

Angela Chuck, 24 , accountant CPA, Asian descendent Mix
Add -24? – student studying b/a or another like accounting. ?
(Is she younger or older).

  • Layers of ., moved to Los Angeles area and took school to help support living situation. On school grant and also taking acting classes, has been told by many friends that could be a good actor, very consoling to friends, friends visit los angeles often,
  • Doesn’t like accounting, but is good at it. – Comes out early on.
  • Took accounting to please her parents and went through uni to get degree in it. Would sneak into the university theater at times at uni.
  • She is hiddenly artistic. Likes crafts and things like that. – *Chemistry between herself and the sculpturist in class.
  • Would love to get parts in acting and be able to do less accounting or not be forced to do accounting as a career. Does a full time job as she is taking classes. Makes decent money.

MAIN KEYS:
Incredibly sensitive,

  • This student is extremely sharp , needs to be taught how what is craft

Add – housewife? Husband is in finance. Wants to do acting for the excitement of wanting to do something.

Moved from New York state and husband got a finance job in Los Angeles, still meeting people in new town, doesn’t have a lot to do with her time, thought of doing acting to meet interesting people is the idea,

  • Could be Active Memory student , or a 2nd one that experiments with concepts of Sense Memory
    Truth is that she is already sensitive enough, which she learns to trust more of. – the gain is that she has prior life experience, the goal is to let go of the prior life experience. _ It will have value and also represent its problems.
  • Teacher – you tend to lean towards working off the ideal rather than working off the reality. This is interesting.
  • She is very heady about technique. Has had time to read most acting books. She is smart but when it comes to the doing of the work over complicates herself.
  • After one example have teacher comment on how she has forgotten herself in her involvement , just like Jackie did in Jim Jarrett’s class.

12)
Sarah, 21 daughter of famous Actor,

  • List what each student has going for them to start, then reveal their troubles.
  • 21 year old female , Daughter of a famous star of the 1970’s.
    Her father was a rather famous actor who was the lead of a television series during the 1970’s. She helps to run her father’s fan website and annual charity events. Oddly, she doesn’t resemble her father that much and is by no means identical, but none the less she is his only daughter. He still talks to her about acting and she is helping him to write a book about his memories of his career. The father recommends these types of acting classrooms given his great experiences in films and on his famed television show.
  • Actually brings a pen and paper to class. Takes copious notes.
  • Has witnessed and watched all of her fathers 6 years of series. Speaks to him often about what he did to prepare for many of the scenes that he has done-
    -Key – she brings in stories about what her father did to prepare, and tries the same in class.
    Student – they didn’t call it why study emotional preparation back in the days when my father was doing his series. Yet, when I explain this work to him and go over my notes with him he just sits there and nods. Sometimes he says, I knew a guy who did that on the series and at first we thought he was crazy because we didn’t understand it. Later on after it did make sense because we saw that it worked. We were willing to work with anything that worked – her father says.
  • Does the father come into the class one day? – Could be good. – About being yourself section? ??

13)
Nora Sofia, 26, Has had busy careers since the age of 14 years old.

  • List what each student has going for them to start, then reveal their troubles.
  • Market specialist and assistant to interest rate guru downtown LA. She needs acting experience because she often has to do presentations and thinks acting will improve her abilities. (Often she has to lie to clients to get them to invest in foreign economy losses). Off the table/books offerings too come out later during rehearsals.
  • Scene mate sees pictures of herself with financial specialists and Vice Presidents of Foreign countries in her living room. – Interesting ideas for including –
    closet gay female, works as a bartender.
    (Comes out in class, doesn’t hide it anymore. “It feels different, feels a lot better” )
    -She ends quitting because life issues catch up with her, but thanks the teacher for class experience. Not comfortable being herself around others, a lot of internal things go in inside of her,
  • Struggles with the modernistic social structure of modern day life.
  • Doesn’t understand that belief’s are not actualities. Having a belief does not mean that you have the internal reflection of it. This is the difference between thoughts and realities. *
    Still coming to know herself as a person and her own modernisms.
  • Is distracted by thinking that others are often in the wrong rather than adjusting to them and learning to cooperate.
  • She is highly influenced by other people and meets with many different people, Teacher – The way you work, which in a way keeps her isolated into her ideals rather than exploring others behaviors.
  • Possibly quits in detest of her own idealisms. – Struggles to quit before she does, then just doesn’t show up leaving her partner without a scene.
    (The cultural elements spark between those two because they share elements that were interestingly similar. – ??could they have a fling of relationship? ) – It would be interesting.
    (They have drinks after working on the scene – )
  • Pensive whenever she does not believe she knows the outcome or that she is on the winning side.
  • Used to controlling men by womanly flirtations.

14)
Emelia, native American female, left community to learn acting.
In Hollywood just to learn acting.
Against her tribes wishes and several in her community that were concerned about her safety and her ambitions being against their cultural belief’s Emelia left. When she left her tribe’s community its leaders told everyone that she was possessed by “grandiose thinking” and “unrealistic dreams”. (Some said that she was wrong to step outside her own cultural influence.)
She thankfully still gets a unique government grant that helps her support herself in a different environment. She knew in her heart that if she wanted to be an actor she needed to get to a place that could properly train her. This was a tough decision and she has left everything to do it.
Emelia genuinely wants experiences with others,
(-Sets up a good scene with other girl grandmother girl)

  • Her willingness to leave all that she knows to learn something new is the advantage that her attitude gifts to her.
  • At times she is overly amicable instead of telling her own opinion or feeling. – Example _
  • Sometimes quiet learns how to be more expressive based off the other person – example –

15)
Michael, 25 straight model.
There is a famous and ongoing joke in the modelling industries about there being no straight male models. Often times initiations means that filmed instructed hazing starts to build a paparazzi preparation footage once becoming a model.
Michael looks gay but is straight as a nail. He is 6foot 1 inches and a strapping young man. He has a thing for older women but still dates women his own age too, often he is hit on by both sexes. He likes wearing bright clothing or very stylistic clothing.

  • Struggles with predispositioned posing. – Example _
  • Over planning the scene – doesn’t look comfortable because he is trying to find a style – example (teacher suggests he relaxes to find his own style).
  • Gets caught up with the beginning of the scene and stays in its beginning rather than explore its happening – example –
  • Thinks that things have to be planned in order to be included. – Struggles with that principle first few classes for a while.
    Believes conceidedly that looks are the talent. This is improtant because he can’t take others seriously at times because they are not in an desired position, like a model is. They don’t represent anything to him so he doesn’t know at first how to take them seriously.
    -*Shines light on the modeling industry and the cut throatness of its industry.
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16)
Jason, 28, Rock Musician Son
son of a musician. Rock musician. Exposed to a lot of things in life. Has no real set pattern in life. Likes to surf the beaches of Malibu and Dana Beach. Doesn’t need to have a job, is a trust fund baby.
If it is not exciting

  • Principle of an honest connection. , Needs to be grounded enough to articulate their own expression. Without feeling any need to exaggerate.
  • Father wrote a book before he died. They were preparing the notes for the book with the publisher and father wrote – music is the life beneath it’s obvious beats. We all knew the songs, but our best concerts were when we were open and willing to relive the experiences of what the songs meant. Sometimes, in concerts, we would have 3 or 4 songs right after another be even an unconscious experience of reliving what each song meant. It fed my soul and it paid the bills.
    (Read in memory RIP of his father).

-Adjusts to the pace of the work of doing a scene

  • He turns a leaf, Really gets caught up in the emotionality. Often wants to only feel the depth of the scene – later in his work – example –
  • Gets caught up in his own experience to be awake to the others experience – key – example.

17) Alice Elizabeth, 32, Communications Specialist with little on the resume but has a lot of life experiences.

Alice. A communications specialist. Plays the organ. Daughter of a European Monarch.
All of her early life she was kept from the spotlight and out of the public eyes of the Hollywood cameras. Now she is embarking on a new situation to learn acting and participate in the arts programs.

Why Study Emotional Preparation is one of the key questions to ask yourself as an Actor.

18) Philippe Lordes, 36,
Archery Expert, Horse Trainer and old Regiment UK K-Malta Division of Special Forces for International Peace Negotiations. Greece and UK special backgrounds in History and Olympics Histories.

Philippe who was nicknamed Archie for his Archery skills start writing coded messages with Alice going back into his early teenage years. to each other which help them to fall into love with each other – Can I go that far to include parts of their stories. – Suttelly? At end of book – Alice stands up with Philippe against Gary and they form a relationship.

Ends with Philippe writing a lot of letters to Alice as they fall further in love and have to move districts again taking them both away from their Acting training.

Emotional Preparation Book

A Message to the Students:
As you begin this work you will gain how to integrate real emotional experiences with your acting. It may not feel the same as you utilize emotional experiences presently. The gain will be actual experiences that captivate you internally and then you work to integrate that emotional life with your interactions.
The experience changes from a planned organized expression to an active emotional expression. There is not an expression that normally occurs without an active component of emotional aliveness underneath it. However, learning to connect the expressions to your internal emotional lives of what really matters to you will be achieved. This will ensure your involvement in your scenes and guarantee your scenes being real.

You can see by reading the examples how the insights of advice given by the teacher affects the direction of students learning. The actual habits of the students develop, and they begin to grow into the experiences of their work as the human beings they are.

If you are a student of this work or an audience to the acting field, you will likely identify with personalities in this book. These personalities are based on real people, yet many of the real people in this book have similar experiences. Many students have learned similar lessons over the years. Some students have done exact exercises and said nearly exact things because the discovering of acting has similarities.

About surprise, utilizing surprise is the working off of the circumstances that Actors must learn to achieve.

Why Study Emotional Preparation

Why Study Emotional Preparation is an Important Question for an Actor or Musician. Learning how to put Emotion, Real Emotion, into your artistic work is vital.

You want to learn to put blood flow of emotion into your Acting and your Music.

Realizing for yourself as to Why Study Emotional Preparation will give you answers that will gain the ability to find and unlock access to yourself. Finding the ability to Unlock your Emotions and Activate your Emotions is key.

Activation is the KEY to Why Study Emotional Preparation.


Copyright 2018, Simon Blake

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About Simon Blake

Simon Blake has studied between 30,000 – 40,000 acting exercises and studied over 8-10++ thousand acting students and professionals. Studying over 1000+ famous names in the industry learning techniques that are keys to unlocking their talents.

“Meisner In and Out Exercise, which was later known as Doors and Activities give a basic building block to modern day acting” Simon Blake’s training includes every aspect of Meisner Training.

Simon Blake runs and operates the website EmotionalPreparation.com which teaches Actors how to add Emotion to their acting using improved acting techniques.

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