Traditional Emotional Preparation Technique is ONLY for the First Moment. Traditionally you Prepare and Activate your emotion for the first moment of the scene. The truth is always that emotional interaction could extend the first moment. Freedom is the key to keep the Emotion able to ebb and flow depending upon the interaction.

Here’s the deal. You want to respect the Traditional uses to know activated emotions are typically for the first moment of the acting scene. However, your emotional flexibility is part of your talent. If through Interaction your Emotional Preparation stays activated by your acting partner, your emotion will continue to interact past the first moment.

If you lock into a mindset that you are responsible for a moment of Emotional Outburst and miss receiving your acting partner you will limit your own talent. Freedom is the key to the Limitations of Traditional Uses of Emotional Preparation.

Some Main Quotes of this Acting Article:
“The limitations of Traditional Emotional Preparation can often hinder experiencing of Acting students attempting new ways to Activate their Emotions.“
“Traditional Emotional Preparation has some incredible uses and insights.”

Copyright 2018 Simon Blake

ACTING CLASSES INFO: HERE!

Traditional Emotional Preparation Technique Chapter Three

Copyright 2018, Simon Blake

Traditional Emotional Preparation Has Incredible Uses and Insights

Everyone benefits when they harness the craft of activating their emotion. Traditional uses however are only for the first moments of the scene. Holding a belief that you need to limit your emotional expression in acting is a mistake many actors make. Balancing is part of learning the craft of acting.

Truthful understanding means hearing with receiving. The real intellect and personal development is encouraged only with freedom. If you balance yourself within an emotional range you will be more likely to have expressions from within that ball park within your acting. The trick comes from being able to drop your self activation of your Emotional Preparation and focus on receiving your scene partner.

Outside of the work of participation in the Acting scene you add the self stimulation of Emotional Preparation. Typically this is only for the very first moment of the scene. However, if you choose to limit it and bring resistance into your acting you may resist the discovery of your own acting experience.

Actors presence in a scene must have freedom to work. Depth of emotion balances the freedom of interaction. If you only prepare for the first moment of the scene you will miss exploration of the depth of your emotional range.

Example: It may benefit you to sit and ponder sulking within the emotion of being in a breakup past the planned stages of the first moment of a scene. Even more so in this modern era of film because of the slick technologies that are capable of capturing the most minute detail capture more than just an entry into a scene. The longer you sit in the depth of that emotional range the more it can have visceral effects of emotion within you. When you start to interact placing your attention on your scene partner the next key is receiving. When you receive your acting partner a flood of emotions may emerge through the interaction.

Goal: Traditional Emotional Preparation was only for the entrance of the scene.
New Goal: Soak yourself within the depth of the Emotional Range, but not perform your impulse unless it comes out with interaction with your scene partner.

It takes discipline and respect to respect the old approach to Emotional Preparation, yet build your own acting technique with your own common sense.

The discipline not to blurt out your Emotional Preparation without receiving your acting partner is the acting muscle of faith. You test your faith that you can receive someone else even though you are already activated with an emotional range. You trust that your interaction will bring out your Emotional Preparation. In the past, most actors push out their mustered up Emotional Preparation like a presentation for the first part of their scenes. Instead, you can learn from this and redevelop your own technique to be more relaxed and more authentic.

Performing the First Moment of the Scene is Problematic

Developing your Emotional Range for Performing Your First Moment is the normal process that is seen in every type of acting scene. This is why Directors often will shout to Actors to be more natural. Huge discussions occur on subtleness of emotional techniques and if they are able to be done with authenticity.

Performing the first moment should only be a learning curve while learning the craft of Emotional Preparation Technique.

The development phase of personal reflection is not to find a conviction of intellect. Intellectual doings that Actors have to do when directed are stage directions. IF you rely only upon logic and intellect when you act you will not have the human quality of emotional ebb and flow.

Traditional Emotional Preparation per say but the examination of self involves intellect, research and comprehension of self and others. This is where the tying of intellect occurs on the outside fridges of the development of the actor and of the part with the research.

Glibly researching for a part with dependence upon spontaneity abandoning the intellectual process of reflection is not the instruction of this book or the many Acting teachers that teach the process of Traditional Emotional Preparation. The tying of intellectual process is the outside workings of understanding the dynamics of the scene and not the internal comprehension within the scene. The placement of intellectual pursuits is the skill learned according to the personality of the learner.

However, regardless of the learner and their personality that abandonment of logic (not common sense) is the craft of letting go of intellect to gain the experience of the scenes experience, leaving the logic to the writer and the experience to the Actor during the real time life of the scene. In the fact of Traditional Emotional Preparation, the change of focus of the Actor from internal focus of self-stimulation to the outward receiving of others is the action of doing that realizes the full scenes potential. The carrying over of the emotional stimulation is a default mechanism within the self if you let it default to merge with the real time existing experience.

The trusting of the prior scene experience once it is reactivated and alive with the Emotional Preparation of the Actor allows for the trusting Actor to transfer that activated experience into the scene at the will and timing of the reality of the real time scene entered. This allows the intuition of the Actor to carry over the experience of the prior scene rather than the intellectual memory of the actor to carry over the intellectual facts of the experience of past. The intuitive abilities build into the real time scene the experience it releases without calculating its effects on the real time scene which in turn is an unconscious doing of letting go.

Understanding in intellect that there is an unconscious doing of letting go by the intuition without a calculation of reality allows the Actor to experience the differences in Emotional Preparation within their own selves and put trust in the process of allowing their scene partner to affect them without worrying about what translates and what doesn’t. The Actor begins to trust that as long as they have the active Emotional Preparation done with the emotional life of the scene before the one, they are entering into then there will be moments within the real time scene that will interexchange with their Traditional Emotional Preparation automatically.

The trusting of the automatic switches within yourself and your intuition’s ability to carry over emotional experience into the scene is the trusted result of successful realization and builds the trust within the Actor that the intellect is not needed within the fibers of the scenes workings.

This leads us to a proper understanding which will lead us to a proper letting go of our intuitive abilities that allow the intellectual components of the work to automatically influence the part we have done within acting which is the same process that research has as an influence into the work that we do. This ability to trust your internal intuition is the mechanism of realizing the prior events of the scene before does enter into the reality of the real time scene seamlessly.

Whatever is influencing the seeds to our creations will have an effect on what types of fruit we produce. The production of real-life experience is not an intercourse with miracles or hoping that a scenes ingredients are included but a reality of what you cook up within your Traditional Emotional Preparations will somehow find itself into the ways of the real time scene through connection with your partner within the scene.

The seamlessness of scene-to-scene work and interchanges is a craft to achieve and not a miracle to hope for. The tool that encompasses the ability of approaching the seamlessness of one scene going smoothly into the next scene is the tool of orchestrating your Traditional Emotional Preparation to include the ingredients of the experience prior.
Highlighted Moment: All we would have to do is match meaning to meaning to have an emotional consistency without having to focus on emotion at all

Traditional Use and History of Emotional Preparation:

Arc the student Matthew Osh, 19 character showing difficulties at lumber job and in classes. This arc’s his later outbreak after mid chapters. Its’ important to tell the story of the students and how they go through real things to them which they don’t understand until chapters later

Traditional Emotional Preparation for scripted history of scripted Prior Event.
Scene by scene within the workings of a script Emotional Preparation is the main tool that allows for the bringing of prior scene’s history or experience over into the new scene. The Actor arrives in the scene with the prior experience inside of themselves active and available material for the present scene’s happenings’.
The basics of understanding this is the ability of the Actor to utilize the time spent in Traditional Emotional Preparation to capture the emotional experience of the scene prior or before which carries over into the scene the prior emotional experience of the scene before it. Thus, the releasing of the prior experience pours out into the real time experience of the scene.
The limitations of Traditional Emotional Preparation can often hinder experiencing of Acting students attempting new ways to Activate their Emotions.

This could be the most common practice at present of Emotional Preparation. This is the practice that is widely accepted as moments where Actors will be accepted in the industry to carry over the prior emotional life of the scene before it.
The reality of scenes workings and the intertwining of the scenes as the crafty writer has interchanged and interweave for the overall effect of the script is the reality that the Actor must follow to stay truthful to the doings of the script. If their role is unaware of the past scene because their role was not present within that scene then they will not include those factors within their preparation.

The incredible thing about the artistic processes of film is the ability of trust that will build up between the participants throughout a project. In order to participate within the guidelines of the script the Actor must prepare only on what their part has knowledge of.
To the Actor who is in every scene of the scripted film or theater it is imperative that they are able to Emotionally Prepare on the prior scenes events and conditions and carry over into the scene they enter that prior experience. The techniques to do that are written in this book and explained thoroughly.

The books preference would rather to overexplain and over example the experiences of the different types of Actors than to underestimate the reality that Emotional Preparation brings. If the Actor is capable of achieving the emotional reality of consistently bringing over the prior emotional event into the fresh scene the emotional continuity of the project will be stellar.

There are so many places and corners to utilize the ability of Emotional Preparation that the practicality of not learning Emotional Preparation is such a set back to the Actor. An untrained Actor without Emotional Preparation might only bring their research and intellect of the past history without a believable experience.

The trained Actor who familiarizes themselves to the level of internal learning that is deep within them will let the audience’s knowledge of the events fill in the logical components of storyline and bring over into the work the experience of the prior so the audience can make the connection and the production can grow with the Actors focus on new happenings rather than the logical explanations that are apparent to the storyline because all are paying attention to it. This is why the leap of faith into the work is so critical, so the Actor does not hang up a distraction to the audience’s attention and the flow of the production.

ACTING CLASSES INFO: HERE!

The encouragement of increasing the Actors faith is because of the reality of experience that has taught that the more you can let go and ride with the scene’s actual occurrences the more the seamless even of one scene into another scene actually does occur.

The braveness that the Actor must possess to let go of their prior Emotional Experience in real time entering a scene and focus on what is only the truthful reality that is in front of them is a bravery that few truthfully experience. The reason why logic is encouraged not to be a factor to the audience is because unless the scripted dialogue wants the logic to become a factor the Actor must emersed themselves into the real time event from the starting point of where the last scene has ended or with the new stimulus that the writer has scripted and then let themselves ride that fresh reality of real time experience.

It is the Actors job to match the meanings in the script to the meanings in their own life, outside of that there is only creation and exploration of developing self which is a creative job that only an Artist can accomplish. This very simple yet difficult task of setting yourself up properly and then forgetting about the outcome is a skill and craft that sometimes takes some Actors 25 years to learn themselves or teach themselves this simple principle.

You can choose to accept your differences, or you can choose to struggle with them longer than necessary. Matching meaning to meaning usually means matching items that mean different personal things to you that might not be personal to another person. In order to create emotional consistency in the script you must offset your personal experiences differences with others and accept your different than others.

If you do not accept your personal differences in relationships to others, possessions and personal meanings to others you will not be as relaxed as you believe you are in your work.
Example:

• Suzy really enjoys cats. She only has two cats but if she didn’t restrain herself, she could easily have 6 cats. If Suzy picks something personal that she likes and relates to for her acting work purposes she may very well pick her affection for cats. If Suzy is honest, it could be a very strong emotional preparation for her starting point in setting up her acting work. If Suzy is dishonest or uncomfortable with her publicly being admitting her affection for cats, she could have issues in her acting.
  Emotional Preparation is personal. No one needs to know her cat affections, but the reality is in is she really comfortable for her affection for the species of animals that she loves so much? If she is than the preparation will start with an impetus that will be genuine and honest. If she, isn’t it could have a crooked starting place and could have an inferiority to her work that she won’t be able to adjust out of.
  -Samy really likes shag carpet. One time he wanted to put shag carpet in one of the bedrooms and his wife thought it was a cool idea at first and then changed her mind when she saw the color. Samy also really likes the 1970’s styles in clothing. He is very comfortable wearing Bells (Belle Bottoms) around his house and places he frequents often.
  Outside of his life’s influence and area he keeps his Belle Bottoms and Shag carpet desires and affections on the down lowe.
  if Samy wants to use the thing in life that most excites him he will have to be honest about the initial stimulation. How it affects him, how he really feels to sit down on his shag carpet to watch TV leaning upon his couch rather than sitting on it. This is important. Each detail of his initial stimulus in life is a piece that can really help Samy if he is honest about it or really hold him back if he is dishonest about it.
• matching your personal meaning to the script examples., you’re meaning and other meanings differences.

Matching personal elements of self that give the same emotional qualities of excitement that are in the script can work to pin hole the emotional layers to match the inner life of yourself with the inner life that was desired in the script.
It is essential to have the comprehension ability to realize that your circumstance may vary quite a lot from the scripts circumstance in order to gain the same or desired emotional layer. It is very necessary to interpret differences of what is similar for your circumstances and what may be very different in the scripted circumstances. This takes a lot of work, and this is the reason why Traditional Emotional Preparation takes a lot more technique than many use trying to fill the needed gap.

A SINGLE EXAMPLE:
Examples of Traditional Emotional Preparation:

Why many Actors refuse to use real Emotional Preparation
The ride that Emotional Preparation takes you always improvises your work in some way. To inexperienced Actors who are not used to working in improvisational ways it can be daunting and incredible off-putting.
If the emotion affects the scene as it will if you, do it properly the scene will have variance and changed connotation. The timing of the scene will also be influenced by the emotional life of the actor. It is not so much that the emotion will off rail the actor with expression but the subtleness or not to Suttle presence of the emotional undercurrent will affect the scene.
Traditional Use of Emotional Preparation will limit the use of the preparation to the first moment, but the effects of the Emotional Preparation will undercurrent the scenes happenings.
Understanding that Emotional Preparation affects more than just the first moment even though it is designed only for the first moment of the scene is key. Of course, you will be affected in unrehearsed and spontaneous ways and structures.

Atleast – 3 examples
Include unusable scene in the context.

Examples and Problems with it – –

The problem with Traditional Use is that it is complicated to learn and may take 6 months before you are able to do all the elements together. The key is not to perfect it mentally, but to accept the parts of the experience that are real to you. What is real to you is what activates inside of you.

Use of Traditional Emotional Preparation

Use and History of Traditional Emotional Preparation:

Emotional Preparation for scripted history of scripted Prior Event.
Scene by scene within the workings of a script Emotional Preparation is the main tool that allows for the bringing of prior scene’s history or experience over into the new scene. The Actor arrives in the scene with the prior experience inside of themselves active and available material for the present scene’s happenings.
The basics of understanding this is the ability of the Actor to utilize the time spent in Emotional Preparation to capture the emotional experience of the scene prior or before which carries over into the scene the prior emotional experience of the scene before it. Thus, the releasing of the prior experience pours out into the real time experience of the scene.
This could be the most common practice at present of Emotional Preparation. This is the practice that is widely accepted as moments where Actors will be accepted in the industry to carry over the prior emotional life of the scene before it.
The reality of scenes workings and the intertwining of the scenes as the crafty writer has interchanged and interweaves for the overall effect of the script is the reality that the Actor must follow to stay truthful to the doings of the script. If their role is unaware of the past scene because their role was not present within that scene then they will not include those factors within their preparation. The incredible thing about the artistic processes of film is the ability of trust that will build up between the participants throughout a project. In order to participate within the guidelines of the script the Actor must prepare only on what their part has knowledge of.

To the Actor who is in every scene of the scripted film or theater it is imperative that they are able to Emotionally Prepare on the prior scenes events and conditions and carry over into the scene they enter that prior experience. The techniques to do that are written in this book and explained thoroughly. The books preference would rather to overexplain and over example the experiences of the different types of Actors than to underestimate the reality that Traditional Emotional Preparation brings. If the Actor is capable of achieving the emotional reality of consistently bringing over the prior emotional event into the fresh scene the emotional continuity of the project will be Steller.

There are so many places and corners to utilize the ability of Traditional Emotional Preparation that the practicality of not learning Emotional Preparation is such a set back to the Actor. An untrained Actor without Emotional Preparation might only bring their research and intellect of the past history without a believable experience.

The trained Actor who familiarizes themselves to the level of internal learning that is deep within them will let the audience’s knowledge of the events fill in the logical components of storyline and bring over into the work the experience of the prior so the audience can make the connection and the production can grow with the Actors focus on new happenings rather than the logical explanations that are apparent to the storyline because all are paying attention to it. This is why the leap of faith into the work is so critical, so the Actor does not hang up a distraction to the audience’s attention and the flow of the production.

The encouragement of increasing the Actors faith is because of the reality of experience that has taught that the more you can let go and ride with the scene’s actual occurrences the more the seamless even of one scene into another scene actually does occur. The braveness that the Actor must possess to let go of their prior Emotional Experience in real time entering a scene and focus on what is only the truthful reality that is Infront of them is a bravery that few truthfully experience.

The reason why logic is encouraged not to be a factor to the audience is because unless the scripted dialogue wants the logic to become a factor the Actor must emersed themselves into the real time event from the starting point of where the last scene has ended or with the new stimulus that the writer has scripted and then let themselves ride that fresh reality of real time experience.

Truthful understanding and real intellect as a personal development is encouraged only outside of the work of the Actors presence in a scene and even more so in this modern era of film because of the slick technologies that are capable of capturing the most minute detail. The development phase of personal reflection is not an intellectual doing per say but the examination of self involves intellect, research and comprehension of self and others. This is where the tying of intellect occurs on the outside fridges of the development of the actor and of the part with the research.

Glibly researching for a part with dependence upon spontaneity abandoning the intellectual process of reflection is not the instruction of this book or the many Acting teachers that teach the process of Emotional Preparation. The tying of intellectual process is the outside workings of understanding the dynamics of the scene and not the internal comprehension within the scene. The placement of intellectual pursuits is the skill learned according to the personality of the learner.

However, regardless of the learner and their personality that abandonment of logic (not common sense) is the craft of letting go of intellect to gain the experience of the scenes experience, leaving the logic to the writer and the experience to the Actor during the real time life of the scene.

In the fact of Traditional Emotional Preparation, the change of focus of the Actor from internal focus of self-stimulation to the outward receiving of others is the action of doing that realizes the full scenes potential. The carrying over of the emotional stimulation is a default mechanism within the self if you let it default to merge with the real time existing experience.

The trusting of the prior scene experience once it is reactivated and alive with the Emotional Preparation of the Actor allows for the trusting Actor to transfer that activated experience into the scene at the will and timing of the reality of the real time scene entered. This allows the intuition of the Actor to carry over the experience of the prior scene rather than the intellectual memory of the actor to carry over the intellectual facts of the experience of past. The intuitive abilities build into the real time scene the experience it releases without calculating its effects on the real time scene which in turn is an unconscious doing of letting go.

Understanding in intellect that there is an unconscious doing of letting go by the intuition without a calculation of reality allows the Actor to experience the differences in Emotional Preparation within their own selves and put trust in the process of allowing their scene partner to affect them without worrying about what translates and what doesn’t. The Actor begins to trust that as long as they have the active Traditional Emotional Preparation done with the emotional life of the scene before the one, they are entering into then there will be moments within the real time scene that will interexchange with their Emotional Preparation automatically.

The trusting of the automatic switches within yourself and your intuition’s ability to carry over emotional experience into the scene is the trusted result of successful realization and builds the trust within the Actor that the intellect is not needed within the fibers of the scenes workings.

This leads us to a proper understanding which will lead us to a proper letting go of our intuitive abilities that allow the intellectual components of the work to automatically influence the part we have done within acting which is the same process that research has as an influence into the work that we do. This ability to trust your internal intuition is the mechanism of realizing the prior events of the scene before does enter into the reality of the real time scene seamlessly.

Whatever is influencing the seeds to our creations will have an effect on what types of fruit we produce. The production of real-life experience is not an intercourse with miracles or hoping that a scenes ingredients are included but a reality of what you cook up within your Traditional Emotional Preparations will somehow find itself into the ways of the real time scene through connection with your partner within the scene.

The seamlessness of scene-to-scene work and interchanges is a craft to achieve and not a miracle to hope for. The tool that encompasses the ability of approaching the seamlessness of one scene going smoothly into the next scene is the tool of orchestrating your Emotional Preparation to include the ingredients of the experience prior.
Highlighted Moment: All we would have to do is match meaning to meaning to have an emotional consistency without having to focus on emotion at all

It is the Actors job to match the meanings in the script to the meanings in their own life, outside of that there is only creation and exploration of developing self which is a creative job that only an Artist can accomplish. This very simple yet difficult task of setting yourself up properly and then forgetting about the outcome is a skill and craft that sometimes takes some Actors 25 years to learn themselves or teach themselves this simple principle.

You can choose to accept your differences, or you can choose to struggle with them longer than necessary. Matching meaning to meaning usually means matching items that mean different personal things to you that might not be personal to another person. In order to create emotional consistency in the script you must offset your personal experiences differences with others and accept your different than others.
If you do not accept your personal differences in relationships to others, possessions and personal meanings to others you will not be as relaxed as you believe you are in your work.
Example:

• Suzy really enjoys cats. She only has two cats but if she didn’t restrain herself, she could easily have 6 cats. If Suzy picks something personal that she likes and relates to for her acting work purposes she may very well pick her affection for cats. If Suzy is honest, it could be a very strong emotional preparation for her starting point in setting up her acting work. If Suzy is dishonest or uncomfortable with her publicly being admitting her affection for cats, she could have issues in her acting.
  Traditional Emotional Preparation is personal. No one needs to know her cat affections, but the reality is in is she really comfortable for her affection for the species of animals that she loves so much? If she is than the preparation will start with an impetus that will be genuine and honest. If she, isn’t it could have a crooked starting place and could have an unfamiliarity to her work that she won’t be able to adjust out of.
  -Samy really likes shag carpet. One time he wanted to put shag carpet in one of the bedrooms and his wife thought it was a cool idea at first and then changed her mind when she saw the color. Samy also really likes the 1970’s styles in clothing. He is very comfortable wearing Bells (Belle Bottoms) around his house and places he frequents often.
  Outside of his life’s influence and area he keeps his Belle Bottoms and Shag carpet desires and affections on the down lowe.
  if Samy wants to use the thing in life that most excites him he will have to be honest about the initial stimulation. How it affects him, how he really feels to sit down on his shag carpet to watch TV leaning upon his couch rather than sitting on it. This is important. Each detail of his initial stimulus in life is a piece that can really help Samy if he is honest about it or really hold him back if he is dishonest about it.
• matching your personal meaning to the script examples., you’re meaning and other meanings differences.

Matching personal elements of self that give the same emotional qualities of excitement that are in the script can work to pin hole the emotional layers to match the inner life of yourself with the inner life that was desired in the script.
It is essential to have the comprehension ability to realize that your circumstance may vary quite a lot from the scripts circumstance in order to gain the same or desired emotional layer. It is very necessary to interpret differences of what is similar for your circumstances and what may be very different in the scripted circumstances. This takes a lot of work, and this is the reason why Traditional Emotional Preparation takes a lot more technique than many use trying to fill the needed gap.

A SINGLE EXAMPLE:
Examples of Traditional Emotional Preparation:

Why many Actors refuse to use real Emotional Preparation
The ride that Emotional Preparation takes you always improvises your work in some way. To inexperienced Actors who are not used to working in improvisational ways it can be daunting and incredible off-putting.
If the emotion affects the scene as it will if you, do it properly the scene will have variance and changed connotation. The timing of the scene will also be influenced by the emotional life of the actor. It is not so much that the emotion will off rail the actor with expression but the subtleness or not to Suttle presence of the emotional undercurrent will affect the scene.
Traditional Use of Emotional Preparation will limit the use of the preparation to the first moment, but the effects of the Emotional Preparation will undercurrent the scenes happenings.
Understanding that Emotional Preparation affects more than just the first moment even though it is designed only for the first moment of the scene is key. Of course, you will be affected in unrehearsed and spontaneous ways and structures.

Atleast – 3 examples
Include unusable scene in the context.

Examples and Problems with it – –

The problems with Traditional Use is that it is complicated to learn and may take 6 months before you are able to do all the elements together. The key is not to perfect it LOGICALLY, but to accept the parts of the experience that are real to you. What is real to you is what activates inside of you.

Constructing Emotions using Emotional Preparation Tools

Constructing Emotions

The concentration of focusing on certain things and discarding other things is the learned process of constructing emotions. The basics of Emotional Preparation is Emotional construction.
Emotional Construction is the gaining of understanding about yourself and the understanding of when you focus on a part of yourself what else is connected. Its knowledge that you gain to be willing to give into the experience, not instruction that you give to yourself to follow.
Once you learn how to relax into an experience you will next be able to develop the constructing of certain emotional ranges. When you begin to learn about yourself and what upsets you and what makes you glad you begin to familiarize yourself with your internal whims.
To baseline our common understanding for this entire book we need to gain the principles of what it means to Construct Emotions. This is a forefront topic of Emotional Preparation and a misunderstood topic at times which leads to difficulties that do not need to exist for the Actor or for the Artist.
Brain block or creative blocks can usually be worked around if you know enough technique you will still be able to work through any resistances. Usually, creative block happens when you are forcing yourself into committing to something rather than discovering the life of what is present.
For both Actors and Artists when you come up upon resistances, you will be able to interpret and understand what they are and why they are there because of the emotional construction work that we will commence on. Some resistance is emotional blockages that you have as a human being, some resistance is a blockage in your technique that you are still learning to work with.
The key is boiled down to the truth that Constructing is beyond an exterior pontification. When you start to construct or work with constructed emotions you give yourself over to the surprise of discovery rather than the action of committing to doing something and having to perfect it.
We do not need to construct emotionally unless we are working with actual real emotions. Using Construction techniques to then turn around and perform your acting decisions is a false event. You don’t need emotional construction or Traditional Emotional Preparation if you are performing an acting decision on stage. It might help but it is not truthful. Decisions to execute without living within the experience the logical actor’s approach.
Actors who already know what is going to happen don’t need live the experience because they are training themselves to block themselves off from the experience with their preconceived notions. The only reason to work with Emotional Preparation is to find the surprise of the experience and enrich it.
Many Actors train with the approach of Improvisational techniques without realizing themselves in the work. These Actors normally quit after several months or about a year. They don’t quit acting, they quit doing the technique and they treat the technique with the ill regard of thinking they have learned it when they have not. What we want to avoid when having an experience is the execution of the scenes. We want there to be undercurrent and emotional life that supports any actions and happenings so the current can be followed by the audience.
The magic of acting is in the life beneath it. The work of the actor’s experience is the work gained through vulnerability experienced in their work. Experience is not measured by Action.
Most early actors plan things to happen at certain times in the script without the effort of crafting anything underneath what might happen if things go according to plan. They miss what is actually available to them because their concern is on making their marks work and on hitting that tone in their voice that they found in rehearsal.
In every new experience, which every scene is, it is the combined receiving, being and expression of the Actor that matters. Constructing Emotions support that under currents are alive within you so something new can happen every time, even when doing the same scene over and over.
Constructions Emotions is beyond performing preconceived emotions or expressions. We can leave our performance-based dramas behind us for a real crafted and constructed drama of actual happenings. We have the right as Artists and Actors to discover within our artform rather than plan and execute the happenings of our artform.

Single Emotions
Most Actors will benefit from the ability to stimulate single emotions just before they start their Acting work. Constructing emotions is the stimulation of multiple emotions. For now, we want to deal just with the complications of dealing with one main Emotional element.

The Most foolish and realistic approach that normally happens when first learning these techniques is to stimulate yourself emotionally, restimulate yourself emotionally and then overstimulate yourself emotionally.
Being too successful means that you do the emotional work and then leave your Traditional Emotional Preparation out of your acting work.
Most students go through this when they are beginning. Their stimulated emotions never see the light of day and never see the expression after their stimulation.

When you stimulate a single emotion or single ballpark of a range of emotion you allow all that is going on in you to happen. You don’t cut off other things from happening internally as emotions can often be jointly connected to each other. The goal is to keep things simple and not overcomplicate with attempting to do more than one range of emotion.

Keeping focus on a more singular element will allow you to see your Emotional Preparations more clearly and grow your certainty in the technique quicker. If you overcomplicate your technique and try to be all encompassing you risk being able to see your own work. Seeing your own work means that you have the internal experience and then without consciously presenting it experience variations of those emotions in your acting exercises or scenes.

Single Traditional Emotional Preparation is very common and can be incredibly affective. Many scenes only need one strong emotional to be active within you and to make the scene interesting.

Jordan’s Journal: I kept going through all of these experiences behind the stage during the Traditional Emotional Preparation stimulation process but when I got to the stage it felt like I was just walking to the stage and when I got there the stage was empty. At first I couldn’t figure it out because I was doing everything I was instructed.
It struck me coming home from classes one day that I was somehow leaving my Emotional Preparations backstage. The teacher was very able to give me some great suggestions on how to overcome that and it worked. Now I don’t overstimulate myself behind the curtain and I come to the stage with the stimulation and the stage seems full of possibilities rather than that old empty feeling I used to get.

Example:

• Charles has learned the art of Traditional Emotional Preparations Relaxation approach. He is well versed now and with a good accuracy is able to relax into emotional aspects of himself that somehow always seem to work themselves into the work without him forcing them there.
  When Charles relaxes into his Emotional Preparation, he often recalls things that have bothered him throughout the day and finds that those annoyances at life find themselves into his exercises with emotional splendor and full expression. Today Single emotion of empathy is asked of Charles. ??? / Sometimes Charles is finds himself with a mixture of emotional life overwhelming him when he is relaxing into Emotional Preparation. Today he is told that he needs to focus only on one thing, or one emotional color.
  When he is relaxing a fear hits him internally and he starts to remember a fearful event that he saw on television. He is very comfortable while he is remembering this but also struck by the fear of it.
  He decides to keep things simple the way the instruction is in classes these days and not allow much more than one thing to really come into his preparation time. >

More Complex
The reason to Construct emotions for acting is to be certain that real stimulus is being added to your acting work. That you have an actual impulse and real stimulation in your acting.

More complex emotional concoctions are necessary when you are acting some scenes and classwork. Sometimes the necessity comes from what is discovered when you are Emotionally Preparing. You could intent to go into only one emotional area and then several areas or two strong areas arise within you. Rather than squashing your own talent define the Traditional Emotional Preparation by allowing more complex emotional concoctions to live within you.
Other times you may have a scripted scene or segment that is designed with double emotional layers. You need to pay attention to both areas so that you have living inside of you and awakened those emotional areas.
Sometimes the emotional areas of the written material of the script will actually have opposing views and opinions. This authors intent is the inner turmoil of the individual who is struggling between two emotional viewpoints. This is exactly a reason for knowing how to work with Complex emotional layers.
Isolating each of the viewpoints and understanding them emotionally rather than intellectual will allow your being with the material to be in inner conflict. This inner conflict will be constructed so that it is internal and instinctual rather than logical. Audiences can tell the difference between logical decision-making conflict and instinctual inner turmoil.
The Goal of constructing complex emotions is to gain the impulses of both the points of view that are in conflict. If you can gain your instincts to capture the impulses, then you know you have gotten past the intellectual understanding. Impulses don’t lie in acting.

Example:
Joey is in class and has just started doing the intermediate workload. It is his first time in his life he has done scenes. He does well in the exercise work of the classroom. After about 6 or 7 scenes he chooses a scene where he is both happy for someone but jealous that they are ahead of him. Joey is smart enough to read the script and identify that there is more than one viewpoint intended for himself by the author.
Joey is also intelligent enough to realize he needs to find these points of view in himself if they are to be in his work. He identifies happiness readily and realizes that he doesn’t have any jealousy when rehearsing the scene.
The teacher says to him. “You know that is kind of one color you know. Isn’t there supposed to be another feeling in this scene too”.
This strikes Joey. He did a great job on being glad for the other but didn’t do the work on jealousy. Joey has to look within himself to find something in life that he is jealous about. He finds that social acceptance is something that he struggles with and starts to identify with his own jealousy.
In his Emotional Preparation he is giddy for the other person and now he is also feeling jealous. It is weird because he feels torn about it. He is not sure if he is more jealous or more giddy or happy.
The next time he does the scene the undercurrent of his own confliction is in the scene. This aids the scene to jump with life and reality.

There are many ways to construct emotions for your acting and many of the techniques that only a few know about are in this book. The many different Traditional Emotional Preparation technique in this book can layer complications that come down to a simple form. The simplicity of clarity will create the complication. The complication is not something that the actor has to construe.
Initially to Construct an Emotion we can follow a more simplistic approach. We can have a single point of view. Then we can add an alternate point of view. This point of view will often be conflicting the original. The knot in your stomach wondering if the confusion you are feeling is likely the right feeling to know you have succeeded in inner turmoil.
The clarity of emotional point of view will assist in the more complex process. The multiple emotional viewpoints will merge automatically inside of you. The reality of acting is allowing the merging to happen without trying to come to a conclusion about the finality. This great mistake made by even professional actors try to limit their exploration of their own inner turmoil by convincing themselves that they need to have a final answer.
The final answer to your inner turmoil is in the scene and in your partner. Regardless of the final outcome of the scripted material you do not need finality or to know how something finishes. It is likely better that you have no idea how something will end. Certainly, the answer to your turmoil is in the future experience with your partner.
To make this even clearer. Do not try to summate your point of views and allow your mind to make a decision on something that you are emotionally conflicted about. If your emotional Preparation has appointing views than allow them to both exist and the answers to be in the acting work’s experience. The Actors discipline in many cases is in what they do not allow themselves to decide in their preparations.
All questions can be discovered in the work that you do. If you pre-decide outcomes you will fall short of having the experience. The inner turmoil felt which makes you sick in your gut is the product of the work of Emotional Preparation. You would not feel that sick feeling unless you had gone into those emotional layers of self and stimulated them.
Stimulating multiple areas of yourself is complicated inwardly if it is effective. If it does not complicate you inwardly it likely isn’t real to you. We dig to find things that make us sick and can affect us. We dig to find the confusion of self within. We know we have found something when impulses come back from the gut. It usually doesn’t feel very good.
You make yourself sick over an issue or viewpoint and then you discover what the answers are in the scene work. This is finding technique. You find what upsets you enough to impulse your gut. You discover the answers in the other person about all that is going on internally in you. You allow yourself to vomit emotionally to stimulate yourself if necessary for the purpose of finding answers within your scene.
If you are not finding answers to your gut’s questions in your work than you are not living in the experience of your scenes. Constructing multiple emotions ensures that you not only have some emotion going on internally but that you have an internal action to follow in your work.

• Add – constructing emotions are several different ways.,
  From basic experience from past, from new experience, from in real-time experience, and from actual imaginative construction. We are not making anything ‘up’ if we are present with what we are doing, we are in the present moment living a new experience.
  -This is the difference between performing emotions and living in them with real experiential experiences. This is also the difference between performing art and actually doing it.

~ Constructing Technique is creating the living emotion by activating a living emotion in the artist or the Actor~

An Artists Example:
If the painter is wanting to paint using Constructed Emotional Life, they can by being actively involved emotionally while they are painting. Allowing the follow through of what they are feeling to flair into their brushstrokes will influence their work as an Artist.
The emotional life will affect their technique and the result will be obvious to those who watch the painter during their process of doing the painting and after the painting in the end product of the painting. Constructed Emotions also work for Abstract Art as well as contemporary to gain a feeling inside of the artistic expression or actual product. Trusting is one key to competently weaving real emotion into artistic works.

Most Artists work with emotional life during their processes in one way or another but not all have techniques that allow them to fully express into their work. Most times the artistic work has an element that was held back from expressing itself with the effort. Learning techniques that allow expressing fully into their work is the craft and knowledge gained in this book.

If you are going to be in a situation where you are actually going to in an unfiltered way allow your activated living emotional life to be part of your artistry, then you will succeed in a lesson from your artistic effort every time you participate in it. The doing of the work will change from a static action to an emotional involvement and a lesson will form from the experience of doing the artistic effort, Acting included.

The Basics
1.) Focus on the Emotion Range that you are ‘ball parking’.
2.) If the emotion intensifies or changes within you getting fainter and then stronger within an amount of time you have a real living emotion.
3.) Continue to get specific within that emotional range and see if the emotion flairs within you.
4.) With an active emotion living inside of you add a process to your involvement of focusing on the meaning of the emotion rather than the emotion itself.
5.) On the Impulse of your emotional being start your artwork, speech, dialogue, musical notes,
6.) Leave your emotion to express itself openly without direct contact with it again just continue being present with what you are doing. Allowing the emotion to choose to express itself how it wants to express itself however it wants to express is a key. Focusing on the Meaning of the emotion rather than the feeling of the emotion is going to be key.

Simpliest Instruction: Activate the emotion then focus on the meaning of it.
vs. Activate the emotion then focusing on the emotion.

ACTING CLASSES INFO: HERE!

This technique works for every single artform.
This is the gentle way of allowing full use of present self without rehearsal and without other work being added. The technique allows your emotion to make ties with the meaning of what you connect with and the doing of the artform will encompass all of your energy and effort.

For Actors:
Before entering the working exercise focus your attention on what the script asks of you, or the exercise wants of you and experience the carrying over of your Emotional Life carry over to into the work. It is literally a careful carry over. Not looking directly at the emotion as you start to work with your partner or on your doing will allow it to stick to you rather than you abandoning all that is around you to try to stick to it.
Performers panic because the moment that they do not ‘feel emotion’ they frantically try to fake emotion when the truth is they are chasing the emotion and not allowing the emotion to stick to them and their work because they have no technique.
Real emotion wants to attach to something that is meaningful or wants to attach to meaning automatically. The more you can learn to construct emotions as an Actor the more you can become an artist in acting rather than a performer faking emotions, you’re panicked that you may not have in your precisely.

The more you practice this little step of recognizing fully your emotion and then focusing on meaning the more you will be able to carry over the threshold of artistry your absolute talent.

This basic principle is concrete and the more you practice allowing your emotional life to cling to something that matters to you the more you will develop in what you are working on in any artform. Precision is an artistry aspect that will only come to you with practice of the general principle.

You will have your attention go from focusing on the emotion to focusing on the meaning, while still feeling the emotion somewhat. Then it will turn into feeling whatever you feel once your attention is off of yourself. When you are doing your artwork or acting speech you will feel in your experience the emotion coming and going like it ebs and flows of its own accord. This is the reality of freedom of emotion in art, acting and craft and is extraordinary technique for the artist, actor or craftsman.

The reality is the trusting that whatever you initially stimulated will somehow be working through itself into the real-time work that you are doing in the exercise work or the scene.
By focusing on the meaning of it you will carry it past its singular existence of just being present in you and allow an inter-actionary possibility with whatever is next in your focus. Once you have another stimulation happening you will focus on wherever your focus takes you. The focus that you had on the meaning will interplay also with the new stimulation and the result is that you will have carried over both the meaning of the emotional life and the emotional life all at once and both will be interactive and present with you.
Meaning is the bridge of carrying over both the full emotional life and the full meaning initiated into the presence of the scene or the circumstances of the scene. That meaning may or may not be from the Actors actual real life but what is certain is it is part of the real-life of the exercise or the scene work.

.consider: 4 Examples for this
Example 1:
Example 2:
Example 3:
Example 4:

• Then have list of emotions that can go into that are not overpowering the self. (At first).
  As you build up craft (the ability to allow your emotional life full expression within your work), you will be able to go into more extreme emotional conditions keeping the ability to continue to allow your emotional self to make decisions in your work rather than your logistical (logic) self).
• DO we do an exercise picking one of the emotions and focusing on that emotion. ? ? ? ??

QUESTION: How do we build up of emotional lives or more than one emotion?
ANSWER: We will deal with the mixing and matching of emotional contours in this book as we explore the different ways to avail ourselves to our talent. Availing ourselves without controlling our talent and emotions is the gentlest and most skilled way of crafting available.
It is more important to realize that “Marrying an emotion” does not add to our presence in craft than fearing that we will not have emotion in our craft because we can’t let go of it. The doing any artwork will result in usual times of stagnant work or the feeling of a chore having to get done to be able to get to a certain productive point. When working with the talents that we have inside of ourselves we can limit the stagnicity of ourselves in our work and become creators with our talents and emotions. The work will always be more interesting to us if we are discovering it as we experience it. The Doing of any work will always change into an involvement within the doing when emotional elements coexist.

Question: How do you know that you have deeply enough solidified your emotional before adding another layer or element?
Answer: When you don’t have to do anything additional, and you feel the emotion active within you than you have activated the inner emotional life of yourself. At that point you can trust that external interactions will result in interplay with your Traditional Emotional Preparation.
If you need an overall Traditional Emotional Preparation or a very specific moment that needs to be captured on camera there will be a varying process you will figure out is needed.
With craft you will develop an awareness of yourself that you likely did not have before learning Acting.
Example: You need a reaction of being freaked out by witnessing a murder. You prepare on your Emotional Preparation and construct your emotional ballpark into that arena until you can feel that active within you without continuously activating yourself on the topic.
The emotional resonation will carry over into the scene when the actual stimulus presents itself. You can trust that you will have a moment activate during the filming because you have prepared the inner layer or underlayer of your emotional life. When the stimulus occurs, you will appropriately respond with moments based off of seeing that dead body or murder witness scene.

Acting Classroom

-Either section narrative or narrative on prior section.

Teacher – Please understand that any technique that you cannot let go of has diminishing value to you. You habituative aspects of the work so the techniques are not executed, but their principles are ingrained.
When you are working out at the gym you must leave the equipment there when you leave the gym, you don’t try to bring the gym equipment with you in order to have been affected by it. You are affected by your training time when you are completely away from what stimulated your muscles.
Techniques are designed to do them, have them affect you, then let go of them. Trust that your muscles will build even when you are not at the gym.
Student – so you’re saying that we learn the technique so we can let go of the technique.
Teacher – Your Emotional Preparation is your activity of your reps like you do in weightlifting. You come to the scene with the results after your emotional preparations heavy lifting. You learn technique so you can turn over the technique to what is really affecting you in a scene.
If the Traditional Emotional Preparation technique was done in a strong enough way or a striking enough way personally in you than you will have returning aspects from having done the technique. Just like if you go to the gym and lift the weights you will feel a result after you are through lifting.
Do not perform a technique in your scenes, be in your scenes and fully take in your scene partners. What you don’t do when you work out is trying to do reps after your workout, yet your workout still is being affected by the other activities you have done. This is the exact principle of Emotional Preparation.

Student does work out regularly. They are driving home from class and still resonates with the teachers’ directions. You don’t lift the weights outside of the gym. It makes perfect sense to Mark as he is driving.
What is a question is how he is going to be able to access emotionally in himself things that require him to do heavy lifting emotionally? He wonders if he will be able to find things or not that are personal enough to him to be able to access those heavier emotional weights.

Example – Journal – I knew that the work was happening to me because it kept surprising me. It wasn’t a complete shock but a Suttle surprise as the scene unfolded. I have never done a scene with that similar internal feeling before.
I am glad that I trusted it to happen rather than stopping the scene to ask what was happening. I still have no idea how much of what I was going through was seen by others but I am trusting that the feeling I was having throughout the scene was the activation feeling that the teacher was speaking of.

Example – goes into an active emotional expression. He does not realize that he is active because he has not learned to listen to himself yet. In an effort to be good and do well in the exercise of Emotional Preparation he reactivates himself into a very intense emotional expression. Then he reactivates himself into a complete panic. In the panic he loses his ability to leave his emotional preparation on an impulse because a panic is random uncontrolled impulses.
He gets to the door of the scene and knocks upon it like the script suggests as the first moment of the scene. He wants to do so many things that he is panicked in his expression. His partner doesn’t know what part of his expression to respond to. Magically, he knows his lines well enough that dialogue from the scene does come out, at first. Then the dialogue gets completely lost because the active experience of his work becomes too much for him.
The scene instead of being about something specific becomes about the persons panic and few lines of the dialogue are completed in any connection to the other person.
Teacher – you leap frogged your emotion. Do yourself a favor and just sit there a few minutes until you calm down from all the stimulating effects of your Emotional Preparation. This is why many people start to learn Emotional Preparation and get scared away from it after experiences like this. Just relax.
Time passes in the classroom and the student starts to calm down. The teacher prompts the student to talk about their experience to help them expel what they have gone through.

Success Is:
The success of your Traditional Emotional Preparation is when the other with you is able to utilize what is internally active inside of you. Emotional life must be able to be accessible to your acting partner to be ‘useful’. (in a scene or exercise. )
Hint: You need to be relaxed enough in your emotional life so the other can connect with you in it.

Example:

(A trainer at the gym does not need to do their routines motions without the equipment to illustrate the results of their work out. The result of their work out speaks for itself. It is self-evident. Performing acting techniques during scenes are like showing motions without the full emersion into the stimulation. Personal stimulation is a very acute thing that is done before the work and then released just prior to the work of the scene. ) . don’t bring the gym with you. .don’t do your routine without your full weight. You cannot be aware of someone else and fully be emersed in your Emotional Preparation. Become emersed first in your preparation, then go out and fully be free from your workout. This doesn’t mean that you won’t feel your work out right after doing it.

(Make this the end of this section )

• Special scene prep –
  Exercise without knowing the others dialogue –
  To get student over her planning out expressions –

Add – student comment – relaxing did all of that. I just realized that I had to surrounding my thinking into my own relaxation and then the logic that was important seemed to already be active in the work.
Relaxation is like the fourth stage of water which expands and contracts to its conditions.
Teacher – well I am not a scientist, but I know that the Fourth stage of water is incredible. So is water memory .
Student – in some sort of way if we relax we absorb things differently and with a different type of clarity in my work. I feel, when I am relaxed, like I am in a sponge sort of state. Yeah, I feel like a sponge.
Teacher – keep that up and allow yourself to stay open to experiencing. Good work. Great comment.

Turning Off your Logical Self and On your Emotional Self

Turning Off your Logical self and turning on your Emotional Logic
There is a ‘Trust Muscle’ that Actors and Artists develop into turning over their logical parts of self over to a more emotional aspect of themselves. This development has variations for different types of people. Developing your artistic trust muscle takes the patience of harnessing a letting go process over to really discover how you feel emotionally about topics and situations.
Artists and Actors who develop trust into liwinquishing over their logical self to permissioning their emotional responses grow rapidly in their artistic fields. It is a forfeiting response to release the automatic Emotional logic and gain a sense of a deeper reactionary stimulation.
Developing the Self-trust required to activate your emotional logic over your logical thoughts releases a more natural and authentic response. There is in inherent response to often does not contain words or an expression that does not take effort to express. This is where the concept of effortless expression comes from.

Emotional Logic is the unconscious self that processes at speeds that no one has yet calculated. The speed of emotional logic is in fraction of ions of time. The goal of working internally is to be open enough with yourself that your internal impulses and integrity can continue to stay open and responsive during your exchanges with both internal and external stimuli.
This means that you are able to take in both the external world and relate to the internal world of others at the same time. This involves being able to keep yourself open both a physicality place of being and as well as an internal sense of self and relation to another. In other ways we also want to be accessible to another spiritually, which we leave for now so we don’t over complicate what we feel is our spirituality or our own sense of self. Often times we over emphasize our own sense of self to others which causes unneeded drama to ourselves and is not constructive to our work as artists and actors.

To be able to turn off our Logical self and turn on our Emotional self we start by releasing that which we think we are and allow another’s perception of ourselves to be the reality that we live in. For Artists who work with physical mediums we turn ourselves over to the physical medium and try to allow the ‘wood to speak to us’ or the ‘canvas to speak to us’ telling us what it wants rather than we are telling it what we want. In Acting we allow the other to influence us and accept what they may be feeling towards ourselves in that moment to be a reality to ourselves.
When we allow the others influence, we become cocreators with the other rather than enforcers of what our perception is on another. Creating with something even if it is an inaminant object means that we take into account how we perceive that it feels about something. The other approach is to tell the other or object how we feel that it should become, which is not living in the presence of the life that we are in.
To keep ourselves grounded we allow and permission ourselves to be honest with what our perceptions are. If we see that a block of wood has a line down the center and think of a line like a cat back with that contour than we start to express ourselves and express that we see a piece of a cat in the inanimate wood block. If we are an Actor and we have a perception that other that we are working off of is in a bad mood than we offer that opinion up and are straight honest with how our perception is perceiving the other.
We are asking a trust in the approach which only Artists, whom are perceivers are capable of. It is not a logical thing to do creative enterprises or endeavors. Creative endeavors are usually actions of faith and trust that bring the life of the endeavor to life and into living form.
It seems as though that in order to turn off your logical self and turn on your emotional self you need to be capable of surrendering yourself over to your truthful perception. Moment to moment you will have an interplay if your truthful perception is hotter or colder to the actuality but the surrendering yourself over to your truthful perception is the risk of being yourself that you take to be consistently in the moment and in your emotional self rather than your logical self.
In the work we allow the others to influence our perception but not to dictate our perception. Influence is a medium of communication that allow another to see your point of view about them but does not dictate or decide for them what they are seeing. All Artists and Actors are vulnerable to the real perception of others regardless of any effort to craft only one perception of their efforts. It is usually better to allow many opinions than try to just form one opinion.
Being Present with yourself and your point of view is the only present thing you can keep up with certainty. You can also be present with another’s actions or movements but perhaps not their emotional life. As you develop your emotional availability you may be able to pinpoint others’ behaviors better than another can identify their own. Hopefully this will still be being able to identify your own points of view and staying present with your own point of view.

Copyright 2018 Simon Blake

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