History of Emotional Preparation

History of Emotional Preparation

History of Emotional Preparation help Actors achieve Deeper Emotions. Achieve Deeper Emotions in acting by being a student of your own acting technique. Learning how to put and activate emotions in acting is essential. Acting students train themselves in techniques to spark their own emotions.

The History of Emotional Preparation can help you build your own personal acting technique.

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Some Main Quotes in this Acting Article:
“Comparing History of Emotional Preparation to Traditional Preparation can be a tool to see where we are stuck in acting training.”
“Developing your own Technique to personally activate your emotions”

History of Emotional Preparation Chapter Draft Copy from “Mastering Spontaneity in Acting” by Simon Blake

Copyright 2016-2019 Simon Blake

Traditional Use and History of Emotional Preparation was a simple stimulation to get the blood flow into the scene. However, as a few people started crafting themselves as Artists instead of Actors and Pontificators the artform birthed beyond Greece Acting Histories. This is a modern since 50s version of the history of Emotional Preparation without going in times before.

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.

History of Emotional Preparation
Simon Blake with ‘Some’ of his acting notebooks

The reality of scenes workings and the intertwining of the scenes as the crafty writer has interchanged and inter-weave 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.

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History of Emotional Preparation

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.

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 bravery test to leave the moment behind and enter a new one is both desired and needed quality of the Actor.

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 amerces 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 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.

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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 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 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.
    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 unfiliarity 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 History of 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. Comparing History of Emotional Preparation to Traditional Preparation can be a tool to see where we are stuck in acting training.

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.

About Simon Blake

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Simon Blake has studied OVER 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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History of Emotional Preparation in acting

History of Emotional Preparation Chapter Draft of “Mastering Spontaneity in Acting
Copyright 2016-2019, Simon Blake

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