Layering Emotional Preparation

Layering Emotional Preparation

Layering Emotional Preparation Techniques literally put emotions on top of emotions in your acting. After Activating one Emotion, you rest it, and go get another emotion activated which takes Relaxation techniques to develop as an Actor.

Some Main Quotes from this Acting Article:
“Layering Emotional Preparation takes patience and timing with Relaxation.”
“Layering a similar emotional life and experience on top of each other will intensifying the desired Emotional Ball Park.”

Emotional Preparation Technique Book Chapter Ten

Copyright 2019, Simon Blake
Draft Copy

Layering Emotional Preparation

Technique 8: Layering Emotional Preparation

Quick Note: Notice that as the Arts and Acting grow these techniques become more relevant but many working Actors rely on their Directors and the Script Writers to task themselves to Emotional Layering in their scripts yet don’t exercise their own talents with these helpful techniques. Learning to do this yourself builds your talent levels higher and incapables you to handle well thought out script writings and materials.

Common Understanding:
It needs to be commonly understood that Layered Emotional Preparations will be at least a two-week process to achieve. It may take several weeks to months to gain the Emotional Concoction desired for a certain role. Layering the Emotional Preparation techniques will skillfully intwine the complex scenarios of the Acting parts that you do.
Few Actors ever achieve complex Layered Emotional Preparations.

Layering Emotional Preparations

Layering your Emotional Preparations usually occur one layer at a time. In this section we aim to help you learn how to begin to layer your own Emotional Preparations. It is important to understand that layering emotional preparations is not a needed process to be successful with Emotional Preparations.

Far simpler single techniques are just as utilizable and functionally practical as Multiple Preparation Techniques. It is however important to know that Multiple Preparation Techniques exist so if you end up creating them by your own default you will pay attention to the technique you are creating and not discard it.

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4 Short STEPS to Emotional Preparation

Layering of Emotional Preparations is an advancement in the process of Emotional Preparation. The building up of the life inside of the Actors emotional world before a scene commences is complicated to the necessity of the scene and not the purposes of complexity. The purpose of the complexity remains for the reason of function and not for the purpose of exploring fanciful complications. The more straight forward the diversity is the often more enabled in expression the Actor is.

The Richness of inner life that can entail by structuring your layers of preparation is more incredible than most of the work combined. A realness that translates in raw format on camera and as a shock to audiences if seen in real life can surpass expectation.

Layering Emotional life may take place over several days or weeks. On occasion Layering Emotional Preparation could take place over a month period or longer pending upon the work that the Actor is involved in. The part most often dictates the complexity of preparation.

How to do Layering Emotional Preparation:

Learning how to do Layering Emotional Preparation takes more work than working with only one emotional current or one activated emotion.

We start by breaking down the scripted materials and answering the questions of overall essence of the script. Do we support or contrast the stories Essence? Is the part we play in the script contrast or support the theme of the story? If we support, it than we add to ourselves the essence of the entire script. If we contrast it then we have to decide how we contrast it and add that specifically chosen contrast.

Often times we start the work on our part and depend upon the Director will adjust or contrast our purpose within the material. When novice at Acting you start on where you understand the dynamics to be. If anyone corrects your understanding, then adjust yourself to their reality.

Simon Blake with ‘Some’ of his acting notebooks

Then we answer the overall essence of ourselves in the script. Every great writer has a throughline for every different name (‘character’) within the script. Our essence may be ‘a great and loyal friend’ in a supporting role to a main character ‘despite their faults in character’ or our part maybe ‘a loyal friend that confronts the wrongdoings and impetus’s the realization of self to the main character’.

Whatever threads of existence of our demeanor within the script must be emotionally within us and thus we must be familiar with those dynamics in order to Emotionally Prepare ourselves for those dynamics. If our active nature of self is a great and loyal friend than we do not have to include a deep sense of that reality within our Emotional Preparation because we already possess it, as long it our sense of self is activated within ourselves.

If there is any nervousness that is changing or adjusting our true nature than we need to address that within ourselves so we can really be who we are within the scene.

Emotional Layers work by identifying the needed layers that will support the scripted materials efforts and concepts. All the dynamics that the writer has written need to be included in our consideration for preparing ourselves and any layers of Emotional Preparation that we need in order to take on the role.

If the script has your part as a loyal friend but also has the dynamic of you are aware of your friends’ faults and have the courage to tell him., then at the time you have the courage to tell him within the script you will need to layer an additional emotional preparation into the Emotional Preparation for that particular scene.

Doing so will enhance your gumption to tell the truth to your friend in the scene. That is an example of a double layering Emotional Preparation. Your regular preparation for the part as a whole, if needed and the added particular element that the scene that dynamically changes the scenes outcome.

Understand that finding dynamics within a scene is usually finding the element that changes the outcome of the scene. Including the dynamic identified will intensify the emotional preparation in the required way to affect the scene naturally without preplanning the effect or when the effect will occur exactly within the other actor. At some point the reality of the Emotional Preparation will work its way into the reality of affecting the other Actor which will have at least slightly its own timing of realization. The specific quality may even be able to be timed within a few lines of dialogue but the more freedom it has to find itself within a wider selection of the scene the more realistically it will happen. This takes the willing capabilities of the Director sometimes to appreciate the artform of realization instead of the forced doing of scripted performance. In film the specific timing of the Emotional layer can be achieved still achieving natural occurrence, but it may take several takes of the same scene until the natural occurrence does occur in the timing desired by the production.
We do not want to pride ourselves and overdue our technicalities in our calculations of which layer is which unless it pertains to what happens in the scene, and we are needing a dynamic within a scene specifically. We want to learn to match our Emotional Preparations to the parts that we do in the scenes that we are part of including the ability to layer any prior experiences that the script states that we have had. Bringing over into the scene’s dynamics the initial experience of the past is usually a moment that will first occur at the beginning of a scene or in a timing of another bringing attention to that dynamic within.

Learning to layer Emotional Preparation turns the instruction of the Direction into the artistic form of the Actor regardless of difficulty of request from the Director. Great Directors are capable of layering their casts emotional abilities and conditions for the preparations of the scene without full knowledge of the cast which can strongly enhance the capabilities of the Actors in the cast. The layering of Emotional Preparation makes the mundane request of a timed event a skilled artistic endeavor of the trained Actor. If the Directors requests get too annoying because the accuracy requested gets too specific that is when creative difference will erupt between Actors and Director on Film Sets or during Theater rehearsals.
Sensitive Directors will go back and forth layering the dynamics of the scenes between the Actors to achieve the fullest realization of the scenes happenings and not infiltrate the Actors into heady instructions of movement without emotional intercourse. The natural workings of the main dynamics of a scene will produce its own flow, Rythm and movement within the Actors. Cinematographers need to limit their instructions and request as much as possible to work around where the Actors move rather than insisting on the Actors to anything more than a simple placement. The more freedom the Actors have to work within the emotional life of real time scene happenings the more dynamics will flow from their internal sense of being and the more stimulated the scene will become.
Learning the Layering of Emotional Preparations down the very detailed requests will allow you to stay spontaneously alive instead of having to follow implicit instruction as an Actor on an overly professional environment where production egos may be present. The lifeline of the Actor who is training in the reality of really being in a scene when the scene begins is the Layering of Emotional Preparation taught in this chapter and throughout this book.

4 Short STEPS to Emotional Preparation
 An average scene with circumstancial reality which is more difficult to achieve will still only have active dynamics that could total less than a half dozen at a time.  But the adjustments that may need to be achieved on an set where production egos may be present could triple that amount in a single scene.  The ability that the Actor has to turn the instruction into an emotional dynamic is the lifeline they can grasp onto with Emotional Preparation and layering their emotional life.  Finding emotional reasons to justify the instructions that may be for the purposes of production only but realizing even the production elements with emotional justification is the artwork of an accomplished Actor.  
 Keeping it simple for the following examples of learning will allow a very clear understanding to even the egostical production heads and personalle that may be reading as well to help them realize the collective efforts of all involved, including themselves.  
The more instruction that an Actor receives on a set environment at the time of the scene the more you threaten to extract the dynamics and life rehearsed with the spontaneity that you desire to achieve.  But it is also the balance of the Actor keeping their own ego in check and doing as much as they can to help realize the artistic dreams of the production crew and producers that is also important. 
Let's also remember that an involved Director that works with Emotional Preparation with the Actors have dozens and dozens of dynamics that are active within them at the time of filming a scene.  Directors prioritize the abilities of their cast and crew on set and compensate for dynamics that are missing in order to save a filming of a take of a scene or to fill a need within a dynamic of an Actor interchangeably.  This doesn't even include the personal dynamics of the cast or the crew.  This is why the most organized crews often work instinctually together and are impressive teams that can adjust rapidly to different environments.  Often the advice given on organized sets is to ignore everything else and just do your part but be willing to do anything that is asked of you.  But the reality is that the spontaneity of the scene and the dynamic of presence that is included within the textures that build the workings of why a scene occurs and the direction which the scene goes once it has started is the most precious of all aspects on a film set or in a theatrical production.  

 Now that we have talked about the headaches, lets discuss the parts of the work that are easy for everyone to accomplish together which involve up to a dozen layers of Emotional Preparation that will keep the spontaneity of the part alive within the Actor and a common understanding within the production. 

The more you are capable of having the crew comprehend the overall dynamics and overall process the more they can be supportive of the production and start with the knowledge of knowing when to assist and when to wait.

~ _ put this bellow Layering Emotional Preparation
Building Depth – Layering Emotional Preparation with Same Emotional Current
Layering Emotional Preparation with the Same Emotional Ballpark with One Emotional Current.
Many actors struggle with themselves with knowing if they have given their full selves into their work. This process is a process of Emotionally Preparation which layers your preparation until you know you have maxed out your emotional life.
The first thing to review before learning this is the thing that makes it not work which is ‘Emotion does not like to be watched’. As soon as we focus on Emotion and not meaning we will feel a difference in our Emotional Preparation. Emotional life that is watched will vapor into areas that will take quite some time to retrieve later.
Layering a similar emotional life and experience on top of each other will intensifying the desired Emotional Ball Park.
do not exhale the emotional life, allow it to sit within you as you resolve to a meditative state of adjustment.
In life we do this without knowing we are doing it, until an event in life reminds us of how much of an emotional state that we have, which then at that point in our life we have to address the issue. Alcoholics go through this all the time by one glass at a time they suppress the emotional layers.
In this process of Emotional Preparation, we do not suppress emotional because we remain aware to it and allow it to build up inside of us until we choose to let it go. The mere working with this many layers of this similar emotional life awakens more of that emotional life not giving it a chance to suppress. We are awakening the emotional life by activating it to recognition and building up the processes to continue to recognize the layers one by one, then at the chosen time we release into the scene.
This particular Emotional Exercise is a way both a way to uncover bent up emotional life that is in hiding in a specific area and a way to layer the emotional life talent by attaching the meaning of your emotional life to an imaginary stimulus of the scene.

Re-Activating recent Layering Emotional Preparation

There is a point in the work that you will have to learn to re-activate already lived within Emotional Preparations. This step is often a step that goes without contour. It is important to remember to re-activate your Emotional Preparation and all the steps that you need to in order to achieve the freshness that is desired within the work of realism.
Creating realism is a responsibility which also comes with the actions of intension before the artwork commences. It is in a beginning sense starting within you but the responsibility of consistent work on camera and for a scene requires an ability to step back take a breath and re-activate your intended Emotional Preparation program that you have designed for yourself for the scene.
Re-Activation is a when necessary or when a needed procedure that you will have to learn when you are needing it and when you are already present within a framework of that specific emotional element.
If you are just learning Emotional Preparation you need to understand that the advanced person may prepare and layer many different emotional colors into an intertwined emotional life and then let themselves go into an exercise or a scene. That more advanced person may even write down the segments that are of importance to them to have a checklist of sorts but the less advanced Actor may only need the ingredient of relaxation in order for the life that they already have to just come to the surface so they can let go of it and allow the connection to the others in the scene or exercise to be as authentic as possible.
Either way the re-activation of Emotional Preparation is a valuable lesson if you allow yourself to adjust to your present needs. Each time you work with Emotional Preparation re-activation you will discover that it is a different assembly every time it is achieved. This customization is actually a benefit to the work of the Actor and a reason why experience can accumulate so rapidly learning Acting.
However genuinely complicated or simple the Re-Activation needs to be is how complicated the Actor should make it. The re-activation should mirror the inner preparation for the scripted material or the desired Emotional Preparation that the Actor is attaining. The journaling of the experience could be an added benefit for referencing later on and also for keeping track of the experience as long as it does not intellectualize the approach. Self-Stimulation is an approach in acting that is a crafting mechanism for the emotional life that will be carried over into the filmed scene work so it must be a sought-after approach to allow the Actor to create their own process of achievement.
The personal process of achieving the Re-Activation of Emotional life is the responsibility of the Actor and not that of any other position within the industry. Occasionally an Acting coach may give examples to the due process of achievement, but the personalization process needs to remain the Actors achievement of parenting their own emotional self. If the Actor is anywhere near the ability level of Re-Activation of Emotional Preparation, then they have their own abilities to journal, track and in a non-intellectual way restimulate themselves in the desired ball parks that accumulate to make the make-up of their emotional life of the Re-Activation.
Reducing Emotional Intensity from Emotional Preparation

How to Find your OWN Talent!

Reducing the Emotional Intensity from Emotional Preparation is a cooling down time of the Preparation. You may want or need to from the Direction of the Director to reduce or loose part of your Emotional Preparation between takes or between rehearsals. Releasing techniques are more than timing out techniques or suppression of what you have gone through. Do not tell yourself that you are releasing the emotional element unless you are releasing the emotional element.
Releasing emotional circumstances surrounding your set up will release emotional components that are attached to those elements.
It is important to slow the believe to change regarding the meaning of the Emotional Preparation. Each Emotional Preparation layer has a meaning attached to it. It is designed that way so that when you are exiting the Emotional Preparation than you can exhale the emotion and the attached meaning that will take the remaining of the meaning with it.
We never just add emotional to Emotional Preparation because we want to be able to work with the structure of the Emotional Preparation and we are knowledgeable enough to know that Emotion is too fickle of a substance to work with alone.
Emotion tends to stick to whatever it is closest to. So, we orchestrate a meaning and attach the meaning to the emotional layer that we are subtracting.
We can thus then subtract entire portions of our Emotional Preparation and lessen the load of emotional weight by lessoning the weight of the meaning we built up during our Emotional Preparation Processes.
IF you take away the meaning of what someone is intending then you take away the emotion that is attached with it. This deflation event can occur with a child whose mother takes away the meaning of what the child intends to do during a process or discovery of the child. The mother could take away the meaning by changing or even just undermining the intent of the child and the emotional life inside of the child will change. Their attitude towards scoring that next goal in soccer all of a sudden becomes them not wanting to go to soccer because it is not a cool enough sport. The same is true with Actors and with your Emotional Preparation. What you deflate about your meaning takes emotion that is attached out with it. So, a change of attitude about what something means to you can be the ticket to releasing that aspect of emotional life.
The construction and destruction of Emotional Preparation is about what is valued and not valued by you. If you take the value out of your incentive or energy and focus to achieve something than the emotional life that was attached to it will also leave you.
Learning to orchestrate your own personal value system and be sensitive to yourself in a way that will continue to motivate the meaning or deflate the motivation of the meaning is a piece of the skill of being able to control your emotional life without having to control your emotion.
Example: One example which is pertinent to this particular discussion is changing the motivation of another in your Emotional Preparation to the person that you were working with and was highly motivated to achieve something with you. Then you could change the situation to they are no longer motivated to work with you. Changing this detail in your imaginary daydream could expel all types of emotional life that is connected to that part of the construction of your Emotional Preparation. Thus, releasing some of your preparation and not releasing your overall preparation. These types of emotional readjustments are key in being able to readjust your emotional life without touching your own emotions.
This process of attaching and Un attaching meaning will increase your empathy to the things that you do have the ability to change and adjust your attitudes to things that you do not have the ability to change.

Examples: of Layering Emotional Preparation in same teaching field.

-Clarify: Layering Emotional Preparation Techniques will by default often cross layer emotional Preparation but it is not the same as intentionally doubling into an emotional element. This is where Utilizing technique can make it look like you have more experience than you do.
Using multiple techniques will usually layer your emotions adding texture and contour to you emotionally.
Advice is: Do not try to both use multiple Emotional Preparation Techniques and also do specific techniques on your emotion at the same time. Atleast allow the technique of layering emotional effort to take affect first. Likely the simplier you keep it the fuller the emotional life will become.

-Confusion can often times come into making too many efforts at the same thing too soon.

Combined Emotional Preparation

Combine techniques in clear ways that layer upon each other in supportive ways to grander the solid circumstance. This is the reason why combining emotional preparation successfully usually occurs later on in an Actor Emotional Preparationary experiences because it takes time to learn to interweave dynamics keeping alive the previous work done.
How to choose the best choice with the deepest or most believable results – –

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Conjuring Emotion Acting Habits

Conjuring Emotion

Key: There is a huge difference between Activating an Emotional State which wakens something up inside of you and Conjuring Emotion which is something you need to continue to do to yourself in order to stay emotional.

Self-stimulation that requires persistent attention from yourself in order to have an emotional response is ‘Conjuring Emotion’. Understanding the difference between self-stimulation which causes an emotional reaction within you and outside stimulation which causes an emotional reaction within you takes time and practice. Until you have learned this difference you should not try to bring your Emotional Preparation work into the industry.
The problem with Conjuring Emotion is that it is fleeting and does not last the test of time. Testing of Conjured Emotional life is as easy as doing an exercise where the conjured emotional will rarely resurface naturally without its author giving attention to themselves causing the emotional life to be present again. This is the majority of the way that the industry does emotional life in film and on stage.
The real athlete who does Acting is capable of creating long lasting emotional conditions that can be activated and re-activated by others and not themselves. This is the difference between fakers who may not realize or have learned the difference yet. Any effort to do Emotional Preparation should be praised but realizing the differences between the conjuring of emotional life and the actually being present having an emotional condition is an enormous key to understanding what is really taking place during Acting.
Often times what will happen during working with someone with Conjured emotions is that the person who they are working with will wonder to themselves if they are being placated. Pure emotional life does not involve self-restimulation. The focus will be entirely on themselves or intermittently on themselves as the Actor is in the scene.
Conjuring is such a problem in film that it can create the worst of inconsistencies even when everything in the film is stable and all is going right. The emotional continuity error and conjuring is the reason why many within the industry do not trust Emotional Preparation. Conjuring is another reason why many famous or simply knowledgeable Directors take Actors away for months at a time to work on their Emotional Continuity of their Emotional Preparation.
Knowledgeable Directors understand that rising emotional conflict has been written in the scripting for every good scene. This consistency in the writing is what makes a scenes scripting great. An actor who is capable of being in an extreme emotional condition at the beginning of the scene and not have a rising emotional condition as the scene progresses is not worth the emotion that they can conjure up to bring to the door. This inconsistency of the work in the Actor is the consistency that the Director must caught early on when casting the right cast for the project.
Any truthful emotional response that can pass the test of time should be able to rise in conflict from the first moment of the scene. It is true many scenes do encompass the initial emotional bang at the beginning but if you look at the masters, they are capable of having an emotional bang at the beginning and the depth and breadth of emotional life only grows as the scene is continuing to a finale. Professional writers need to learn in order to have success that the rising conflict or accumulation of spirit must occur in the scenes in organic and truthful ways without jumping emotional life or inconsistencies.

4 Short STEPS to Emotional Preparation

Starting with a bang at the beginning of the scene or exercise work is often seen in the classes but acquiring the skill of rising conflict is only a skill that can be achieved by the ability of the Actor to really deeply Emotionally Prepare.
In fact, it could honestly be said that the only emotion that really counts within a scene is the emotion that others bring out within it. The reality of having the emotional palette beneath you inside of your being and the reality of another being able to bring that emotion out in you is some of the most honest moments on film and in theater. This is real Emotional Preparation and not a conjuring of emotional life that is for the purpose of performing.
The most truthful way for emotion to enter a scene is with the other person pulling it out from the Actor whom they are working with or inciting the emotional incident. Looking at writing the best writers know this and keep it a secret. Actors need to catch up and understand the reality of how emotional life can contribute is the reality of how emotional life is not self-introduced, even though there are times where a confrontation would entail calling out someone’s insensitivities which is the exception to the rule.
Timeless writing technique, editing technique and Acting technique is rising conflict where the scene is initiated with a bang and is rising in conflict or collectiveness to a climax where the scene has lived out the emotional life that was beneath.
Authors Note: If new actors are upset right now reading this then realize the ease of which this craft needs to be done and it will be easier to digest the truth of the art of the industry. The difference between conjuring and authentic emotional preparation is also a personal thing and something that takes time for each Actor to study. The most important thing to remember and the reason to stress the sincere environment of learning that is needed to learn this craft is because of the intricacies of aspects that can often overlap or over occur on top of one another. The note here is sincerity will uncover the truth. Some newest students to this work will have an emotional response immediately and not have participated in any conjuring or stirring of their emotions and a mere suggestion of believable circumstances gets them emotional. Creating lasting emotional conditions often takes the time for the craft to develop within the internal elements of the Actor.
Question: Is there any sure-fire way of being able to tell if you have Conjured emotion or if your emotion is real?
Answer: During the balancing process of Emotional Preparation, you can discover that if you are capable of balancing an emotional element than usually that emotional element is not conjured. When you balance emotional elements that are not actually truthful or real to you will find that they will tend to disappear. Sometimes the truthful emotional life is just beneath another element that has been added other times you will immediately lose all emotional life and wonder what just happened. Figuring this out early on is helpful.
Realizing that honesty is the key and an action of virtue to uphold is important for two reasons. That honesty is an allowance that helps to give you the patience not to make things happen before they occur. Making things happen before they occur is acting as if there is a stimulation before the stimulation is present. This type of acting is fraudulent and is not honest or truthful. Secondly, that honesty is an allowance to the emotional doors swinging open is part of allowing yourself to experience nothing if nothing happens which takes all pressures off of you as an Actor and allows whatever to happen (the stimulation to occur once it does actually happen). Once you let go of your Emotional Preparation into the first moment of the exercise the pressure is essentially released. Real emotion is usually a biproduct of believable circumstance or believable situation which can only occur when an ability it let go of to control anything that is internally within you and externally capable of responding to you. The condition of the Actor is actually one of comfort of knowing that they are in the present which is where they always come back to within the exercise as they adjust moment to moment throughout it. Honesty is the key ingredient to gain the allowance needed to both be present and to be relaxed still holding a charge of the emotional element if the emotional element was properly put within the placement of the Emotional Preparation than it is literally in a state of being which is waiting for your partner to really activate. The Actor may be feeling the effect of preparation but does not have personal focus on it instead choosing and staying in the present rather than falsely focusing on themselves. At first realization of this generality is the equipment the Actor needs to further develop themselves into potentially other specifics but the bread-and-butter approach to Acting will never steer you wrong if you uphold the component of honesty not reacting to anything that is not presently there.
The reality of catching conjuring emotional life during the Emotional Process is extremely high. If you are conjuring up emotions to support an imaginary circumstance than you will be constantly doing and will feel an undoing your preparation happen when you are no longer conjuring emotion into your expression. Nothing within your Emotional Preparation will build upon itself in any layering of technique or layered emotional life with the conjuring of emotion. The reason for teaching Emotional Preparation this way is to assist the Actor of their own faults before having them enter into the exercise or scene work and waste the time of those they are working with especially on professional sets.
When you are honest with yourself and realize that you are adding emotion to your Emotional Preparation instead of allowing the emotional life to accumulate to the believable situations then you will catch yourself when you are lying to yourself about being truthful or honest. This is hard work to realize that you are too anxious to actually even be doing the work. Anxiety is a state of self-stimulating a desire to impress or be good in many cases. If you are anxious in the preparation, you will likely be anxious in the scene work. The relaxed approach of the realization of emotion is the approach of not controlling the emotional effect but allowing the emotional effect to be in you. At the point of learning Emotional Preparation and putting it into practice within the industry you should be beyond the place of anxiety within your Emotional Preparation. Self-focus should be something that you can focus beyond even if it is still present to a small degree.

The beautiful thing about this process is the re-discovery of self that occurs as you learn about what you are capable of believing in and what you are not. Nerves will erupt within you making it more difficult to focus when you are attempting to believe beyond your own limits of belief. It is interesting to note that anxiety does not come into play when comfortable and believable circumstances and scenarios are asked of us. You may also realize that you will have a tendency to conjure emotion when you are attempting to believe a belief that you are not actually ready to be able to handle in your work.
The Actor and want to be Actor needs to comprehend that their belief and ability to believe cannot be a forced doing. When it is it becomes unpredictable and the reliability of the belief changes with the abuse that the actor perpetrates onto their belief system. Gentle approaches to the learning and building up of belief cycles give an appetite to Actor to yearn to learn more and to slowly increase the momentum. It is a similar situation when on a freeway in a vehicle with gears. You must gear yourself up in segments that allow your own internal engine to absorb the flow of belief that you give to it. Conjuring an emotion up for a step within the process will clog the belief system that you are building unless you are only working in one gear system. This is just another reason why master Directors who at least recognize what mastery is give themselves so much time to work with the Actors prior to their first shot of the film. Several months is often the time frame to build up an emotional engine for a role and a part in Acting.
You will expand what you are capable of believing in if you work the process the way that is described in this book. Many expand rapidly as they discover what is believable for them to actually really see themselves in situations. This book advises to leave the conjuring of emotion up to the amateurs that have not yet read it or learned from their own internal Emotional Preparation experience.
Conjuring and Real-Life Experience Preparations
-add – many times those with real life experience try to conjure up themselves in ways that support their belief of their experience. Instead of letting go of the reality and working off the stimulus of the memory they miss the experience trying to create a result.

  • consider – Example: The Conjuring Exercise.
    Believe it or not there are places in an Actors work where they need to have the conjuring emotional talent for performance parts of the script. It is better not to practice these for continuity issues but recognize there are times where such actions may be asked of the Actor. A simple exercise to allow the Actor to feel the difference between when emotion is flooding over them naturally and when they are conjuring up emotion is a really good one for the right type of actor to undertake. Let the teacher decide if this type of exercise would benefit the student. Timing is an important thing regarding this exercise. If you are deep into struggling with gaining any realism at all in your work, you may want to wait till a time where you are at a more playful stage in your learning.
    -in an effort to keep it true to their memories experience they ruin their own craft, aiming for similarity is a better resolve
    Working with Real Life Experience and Emotional Preparation can be a real gift to the Actor. However, it is vital to the life of the actor that they do not convince themselves of their emotional experience of past by the technique of conjuring emotion. This is the most unwelcomed scenario for a Director to have to deal with because in these cases the Actor instead of relying on a technique, when the emotion is not there, they make it up and they go around saying that they have actually had this real-life experience.
    Let’s understand that there is a difference between depths of emotion and also there is a difference between the aliveness of experience after time passes. Many real-life experiences become dated to their belief cycles and memory of what happened. This is a very truthful problem and another reason why some in the industry will not trust to work with Actors who do Emotional Preparation is because of the unpredictability of the process of memory re-call.
    The way to fix this is to include an imaginary element that can help to activate a stronger reality which in turn actually helps to layer the Emotional Preparation. The layered emotional preparation is more likely to achieve an Activated Emotional Preparation which means that the spontaneity will be present in the Actors work. Most times the industry Directors only have a problem with the spontaneity factor of the memory real life recall that the actor is attempting to prepare on. The dated event causes a lack of spontaneity.
    It is important for the Actor with the real-life experience to remember that there are separations of reality that occur in any real experience. There is a point of view of the actual experience and there is a point of view from the overall experience. Often times those working with Real life Emotional Experience can believe wrongfully that they have a more real experience to offer to the work in their Acting but sometimes this can occur into a spectacular and often discomfortable reality which would be amazing Acting work. It is interesting how often having the real-life experience adds dimensions to the work that an Emotional Preparer may not add which is sometimes an advantage. However, because of the way that we break down emotional components it is entirely possible even though the work is very difficult that an Actor without the real-life experience may be more spontaneously alive and present with the full experience of the real-life reality.
    The tricky part of working with Real life experience is not taking for granted that you already have the experience necessary. You must incorporate the experience you have into an emotional concoction because you must add the spontaneity of the reality of a real time occurrence and allow the connections to be real within the new experience. The incredible event of the reoccurrences must actually happen over again, and it is not enough that you have gone through that experience before in life if you are to capture on film or on stage the experience must be one that is new with slight differences from the one you have gone through.
    Painful Emotional Preparations are often part of a recalling experience that actors choose for themselves. The specifics of the experience might need to change drastically or minorly in order to achieve the reliving of a similar experience. The overall emotional result could be very close to the actual life experience of the past.
    In order to help the Actors who, have life experience to gift into their Emotional Preparations let’s look at a Stage Actor who gives over to the experience in real time every time they do the stage appearance and part. They must have a new experience which reactivates the core ingredients that compounded the scenes experience in order to be actually truthfully living on stage at that present moment. The horror or bliss of that experience must be reactivated, and the spontaneity of a real occurrence must actually be taking place or else the Actor is faking their emotional life in order to achieve a perceived result from the audience which is a placation of a conjuring of emotional life to re-enact an events occurrence. The reality of actually living within the experience will not be present in a re-enacted environment. Often times on stages this is the end product of the Acting work that is completed the scene work on stage looks more like a dress rehearsal and blocking event that the pieces just barely fit together and a reality of doing and being is not present or in present time.
    If you are going to utilize the gift of prior experience you are going to have to let, go of your prior experience to relive the reality that is actually in front of you in the similar way that a stage actor must do if they are actually doing the work properly. The exact same principle of Emotional Preparation and the ability that the actor needs to possess in order to let go of it is the exact same principle that the Real-life Emotional Preparer needs to be able to let go of their old experience and allow the emotional elements to carry over however they end up to becoming into being within a scene. It is a non-controlled approach which actually achieves the desired result.
    So much in artwork universally involves the letting go and non-controlled approaches that actually helps to realize the dreams of the artists. The gathering of the technique of even brushstrokes for painters is the wistful release of caring that encompasses the inner desire of the artist which in actually, creates the artists blueprint and stroke technique. The release of their care is the blueprint for their success. Their development is the observation of inward self that actually develops their artists paint strokes. Nothing is more truthful in Acting as well as the Actors release of their dear emotional reality is the exact thing that creates their ability and emotional blueprint of their actual expression. The timing of their release of Emotional Preparation is yet another piece to that reflects their inward expression and desires to connect outwardly as the painter’s stroke also does.

  • After having done the work and implementing the Emotional Preparation technique with the Real Life experiences the Actor grants to themselves more possibilities of real occurrence happening within the scene work or exercises while rehearsing because they tend to have a more wistful approach to the letting go of their experience of Emotional Preparation prior to the leap into the scene or exercise. The reality of letting go of any real experience or emotional life is the recourse of return that usually occurs. Thus, the emotional gifts that will occur while doing the scene work and exercise work is an indirect reality of returning stimulation that recreate themselves within the art piece or scene work. In order for all this to happen in a happenstance the Actors must be relaxed enough to allow the internal experiences to be within them if they are deep enough to remain until the moment that another brings attention to it.
    In Real Life Preparations the reality that the others bring attention to is far more believable than the reality that one brings to themself or their own emotional life. Audiences tend to believe observations that one Actor makes of another as long as there is some real baseline to it. The achievement of Real-Life Preparations is the living of a similar but not an exact circumstance or situation.
    –>add here , because I have not explained this thoroughly enough yet, the part of which the work would allow the ability to have the real-life experience revisit the person but the ability to also let go after the preparation, which could be for several reasons.
    — > baggage is another segment. _<
    If you have life baggage than you may not feel as strongly the emotions effecting, you as you are still sorting out yourself in your own life. However, it will amaze you how much the emotional life may still influence your work and stagger your responses to the others you work with.
    The best approach to Emotional Preparation is not to be your own judge and jury to the process but to discover it by doing the work after you feel you have sincerely prepared.

Emotional Preparation ensures that Conjuring is not needed
Doing proper Emotional Preparation ensures that you do not need to be placing attention on yourself and instead can confidently place your attention on others. The act of being present is the act of not having attention on yourself without physical reason. In order to truthfully be present in Acting you must be present to all that is outside of you, not focused on what is already within.
The Art of surviving Acting is the same as the Art of surviving life, pay attention to everything other than yourself until you are in a personal place where you can mend to yourself. During Emotional Preparation anything that is actually real to you will stay within you until the Releasing of your Emotional Preparation takes place after the work has already finished.
Emotional Preparation is the gift to the Actor of literally pre engage themselves to a point of certainty of self before having to engage all else that there is to be present to which is all but self. This is selfless Acting and the only way to truthfully be engaged.
The engaged Actor is the one that people generally keep their attention upon as audiences in the theater or in watching a film.
The construction of Emotional Preparation is another gift that allows the Actor to build a lasting Emotional Preparation that will pass the test of a timeless environment of which each scene you do should eventually become.
Conjuring emotion into an assembly will not result in a lasting preparation or a lasting encounter within the scene. Conjuring emotion is a manipulation of self and can be an abusive reality of doing which causes one to not trust their emotional well being as an indication of instinctual awareness. Many actors whom start out being able to work with their emotional lives utilize the approach of gaining emotion at any cost to their well being end up with a dependency issue or narcotic tendencies as they are always trying to gain back what they lost in the abuse of their own emotions. Emotional Preparation is not an abuse of an Actors emotional life if done without conjuring and without focusing on emotion to exploit or control their emotions in ways that abuse their emotional lives ability to be. Burning yourself out is the usual first reality of abuse of your own emotional inner life.
continued Emotional Preparation: The construction of Emotional Preparation is the construction of the Actor or the Actor with the help of an Assisting person such as a Director or Acting Coach. The construction of the Emotional Preparation is the formulation of certainty that the Actor feels that the emotional life will want to stick to. Emotion of its own accord and free will, will start to accumulate within the depths of the Actor as the construction of Emotional Preparation is assembled. Regardless of how the Actor is assembling the Emotional Preparation if the Emotional Preparation is believable to the Actor it will produce a resulted emotional life. There is nothing more that the actor has to do but accept the construction of the Emotional Preparation as being truth. If the Actor can believe their own Emotional Preparation Construction than they can rest on assuredness that an inner emotional life is already forming or accumulating within themselves.
The changing life of the Actor is a blessing to Emotional Preparation but it is also a curse during the learning phases. The emotional life of the Actor is not playcated by the Actor themselves or the person assisting them. The regular normal belief that the Actor is capable of handling is the approach of function. The construction is the responsible construction which is set so the Actor has the tangibility of experience before their work begins.
‘Ball Parking’ emotional life is the ability to estimate how belief within a circumstance that could easily be real to you would effect you emotionally if given the freedom to be really in existence. Ball parking emotional life is not the calculation of intellect although it is the closest we get to intellect within the process.
The work of Activating the emotions is the work of understanding by internal feel if the ability in the belief of the imaginary structure that you created is really being believed by yourself. In fact it should be so practical that even your intellect could believe the reality of the circumstance that you set up for yourself. Therefore the ‘in touchness’ feeling of self and whether or not you are centered or off balanced internally is an indication of whether or not you are actually believing the imaginary set up you are constructing for yourself.
The more you believe in something the more you feel a comfort with it, which is even a problem when it comes to victimization and techniques within the field of psychology where a victim is more familiar with abuse then with that of joy or sensation that brings them joy. This is part of the reason for constructing Emotional Preparation and being careful in the ways that you habitually learn. Emotional Preparation is the capability to create habitual changes to victims of lifetime circumstances but also has the ability to draw Actors into to habitual changes of alcholic and narcotic abuses. The construct of emotional memory becomes more key when dealing with the types of abilities that entail the habitualness of emotional life and emotional comfort.
The comfort of going unnoticed is a habitual quality to some people and thus becomes part of their persona. If a person was truthfully working on a part they may intensionally habitualize themselves to be accustomed to going unnoticed. The reasoning for this belief would be their release valve from their emotional doing which they construct in their imaginary belief world. The ability for the actor to release their behavihor after they release their belief is the same element of cycles in life as habitualization and the learning by doing which is also the habitualization of persona. In order to create a habitualness of emotional life and ready oneself for a role in Acting the method that that Actor might take could take them down a road that would temporarily change their behavihors of doing till the completion of the role.
Emotional Preparation is the safety valve that could allow the Actor to build up their emotional life in the desired way without having the permanant recourse of actualizing those behavihors completely in life. Also the unique way of interweaving the emotional life could be a godsent escape route after the part is finished that will help to establish more normalized behavihors that the Actor actually has and help them achieve their normal selves with the human growth of realization from the part without it affecting their behavihor longterm.

Example 1:
Example 2:

Example: the sculptor doesn’t understand that they have inputed all types of emotion during doing their sculpting but the reality is that they have not intertwined their emtoinal life with physical technique or practical practice. The truth of the reality is no sculpting techniques were affected by emotional contouring. The emotions were very minute in some parts of the sculpting but over all technique did not receive . . . … …..
Instead it would be better to have done 5 carvings and scuplted 5 pieces working more frivilently accomplishing a physicality which would have practiced the technique more. THen the learning would have become more activated in the sculptor.
The fault was in the lack of practical doing which is why the application did not reveal itself because the mindset was being too careful and being too conscious trying to create a masterpiece when the reality is that the sculpture needed more practical time involved in doing. Doing and involvement builds experience not emoting or sitting in a conjured state of emotion.

Getting Rid of the thought you need to be overtly Emotional in order to be Real or Active in Acting
Don’t Psych yourself out into thinking that you need to be in overt emotional states at the start of every single scene. Emotional elements run atleast as deep as they do in overt expression. Gaining the ability to know within yourself that you have activated something even when the overt expression has not commenced is a key to releasing the pressures of feeling you need to conjure emotion.
Release yourself from the psychological grip that can overtake your talent and allow the exchange and interplay to uncover what your Emotional Preparation has activated.
You want to increasingly build the realization that beyond your necessary self Emotional Preparation that the interaction with the other Actors catapult your emotional interactions. An ounce of interaction is worth a pound of Preparation but if you have both you will have something quite spectacular.
It can often only take an ounce of interaction to spark more than a pound of Emotion in a realistic and genuinely shared way between Artists or Actors.

Layering Emotional Preparation Assange June Whitaker Doyle
Layering Emotional Preparation Assange June Whitaker Doyle

Internalizing UnExpressed Emotion

Internalizing UnExpressed Emotion

If a relationship that you are in starts to put you down or you feel that you are not able to be open with them about how you naturally respond you will start to internalize your emotional expressions. This can happen on film sets where the main lead actor or a rising too quickly star can start to behave directly or indirectly to other cast members like they are not as valuable of an asset as they are.

How to Find your OWN Talent!

Juggling this disposition is a key thing to figure out for yourself and with the assistance of knowing that nothing is absolutely one sided on the film camera so why should it be behind the camera.
As there are two sides to every relationship even when it may not be realized by every party involved there are two sides to unexpressed impulses and unexpressed emotions. If you are in abusive filming circumstances, you can allow your full emotional expression to occur when in the imaginary circumstances and hold back your real internal feelings about your filming environment until after you have wrapped from the film set.

As you rehearse for an upcoming debute on screen or a filming schedule you will have to learn to allow your emotional expression to have freedom while engaged in the scenes rehearsals while holding back your own internalization tendencies due to your environment.
You really have a choice to make as an Actor and as a human being in the circumstances. You can choose to allow your unexpressed emotional tendencies to be in life or to be on camera. If you choose to be free from restriction on camera your work will not suffer from emotional internalization.

Working with Emotional Preparation Techniques while the film set you are on may not respect your sincere efforts are difficult but leaves you with the same choice. Give freedom and release to your emotional life in your Acting work or playcate the life filming circumstances to be liked by others but see your acting work suffer.
Comedians have a similar choice to make to follow through with the consentration of thie rpunch line or to be like and buddy buddy with all of the cast . Sometimes both can be accomplished but any Actor who does not decide on being freer emotionally in their acting work will cause their acting work to suffer.

Example:
Jordan shows up to a new environment and new film set nervous about being in an unfamiliar environment having never met the cast on a regular series. Off camera Jordan decides to allow his nerves to be there but on camera he decides to be fully engaged and relaxed as possible. It is evident to everyone that first few days of his guest role that he is nervous, but they notice how he relaxes into his acting which creates a coherency with the other cast members on screen.
In the end a few weeks later Jordan gets called back for additional work and even though the director remembers that he was nervous on set, the director knows that the Actor will deliver in the film footage.
If Jordan had have tried to hide that he was nervous or be overt about how nervous he was to distract himself from the goal of staying relaxed and going with the real time acting experience in his acting it would have turned out different. Even though Jordan is not a professional Actor his actions behave like a professional by his demeanor and intentions towards acting.

You cant make yourself a professional you can behave professionally and later on likely be called one.

Finding the switch inside yourself of your willingness to release your own emotional freedom is an achievable endeavor. Being settled in the unpredictability of the outcome and the variances participation you are active with pending upon how much there is to receive is a healthy position. Letting go of your predetermined timing within a scene and going with the real-time impulses as they happen will leave you very present in your acting work with an incredible awareness as to what is actually occurring in the scene and scenario.
Allowing the internal unexpressed emotion to come out of you through interaction and from the others interest in you rather than your own pontification and overt expression will more thoroughly engage your senses and captivations. You will notice more about the other person or people you work with and more about the environment you are in when you are becoming interactively expressive based on others interests in you rather than your presented persona to them.
There are ways to self-prepare or Emotionally Prepare that will make your own work more engaging and interesting but when you are capable of receiving the other persons interests you will catapult audience’s interests in you because your entire senses are actively involved.

Question: Is Normal to feel at the end of a scene that you have not entirely expressed all of your Feelings into the scene?
Answer: Yes, and sometimes No. Often times you do not need to entirely spend thrift your emotional life in a scene. Seldom in life are you that encapsulated that you are empty emotionally after a discussion.
Rather than focusing on emptying yourself emotionally onto the other person allow the residual emotional effects to occur in your scenes. This means that you may have more awareness of a problem or situation at the end of the scene than at the beginning. The Inner life and dynamic of inner turmoil may build for several scenes or even the majority of the picture you are filming. If it, does you are doing something right, not wrong because there is a flux in your inner stimulations that is happening due to your involvement in the scenes in front of the camera. The inner stimulations in front of the camera can then be fully supported and reactivated by using Emotional Preparation Techniques.
To complete the answer, realize that you do not have any obligation to entirely express all your feeling in the scene overtly but that much of the scenario will be present in you without your outward expression of it. It will be obvious to the audience that you are stimulated by the occurrences or interactions if you are relaxed enough to trust the process does not have to be completed by you in any more than a natural way of an open response. A regimented response is not needed, and a punctuation may have already occurred in the scene which is the scenes own natural transitions or endings.

Internalizing UnExpressions (Wrap Up)
Internalizing Unexpressed Expressions means that you are making an effort to hold back your own responses, or you are unable to respond with how you actually are with honesty. You may be confronted, and the honesty of your expressions are getting you stuck in your head or internalizing what might happen with you without the interaction with others that are present around you.
When you internalize an expression, you fail to release its truth which conflicts with your job as an Actor. Your need to reveal your true self in acting is your bread and butter as an Actor. As you work through your inhibitions of revealing to others your own truthful responses you will discover that you are likely somewhat different than who you thought you were. Instead, you will find that you will surprise yourself with who you are becoming which even happens over the course of one film or a 3-month period of acting classes.

  • Journal Example of student in caligraphy type font –

Layering Emotional Preparation Acting Classroom Segment

Teacher – It is the stillness between the notes, that is what is a Moment! Remember this. A Moment is the stillness between the notes. The words are what interrupt the silence so they must have meant and Rythm. So, if you are acting and contriving you will never feel that stillness, thus you will never have reality in your work. When you do not have stillness in your work you will not be real.
Unanticipated reality is realness. You also have no realness unless you have relaxedness. Being still with unanticipated reality is discipline that the artist learns while learning acting. Just as a sculpture learns that their own patience is part of their craft. Learning to be comfortable with that and trust that it is the test of an Actors Faith.
Acting is nothing less than faith tested.

Layering Emotional Preparation is a personal self-doing of an Actor to achieve multiple emotional states.

Example – doing fairly well so far in the work.
Student conjures emotion.
Literally rushes out of the studio at the teachers critique. A student friend of hers goes out after her. The student’s friend comes in and gets her bag and book for her friend. Says to the teacher. ‘She says she’s not coming back’. Teacher says, “well tell her she is welcome to. Sleep on it and make her own decision” ‘ok, I will’. The student’s friend says.
Teacher – She is in love with her emotion. I’m not being mean, just honest. If you love your emotion that much you will miss having the experience. Audiences want to see real time experiences not just emotional outpours. Her own talent to emote is hindering the rest of her talents in being active. She has much more talent than she is allowing herself to use. I hope she realizes that one day.
The teacher mutters to themself. ‘Sometimes teaching isn’t easy. Telling people things that they really don’t want to hear gets upsetting some days.’ The student Eric – speaks up ‘we appreciate your honesty sir’ the teacher looks back realizing he said that outload makes eye contact with the student and nodds. ‘Hope so’ .

Scene
Student – emotional Preparation [ ]
Student – Emotional Preparation [ ]
Actual scene –

  • The experience of the other person without emotional preparation – example.
    Scene where the one student doesn’t really catch an emotional preparation and is flat and lifeless underneath the words.

— Emotions don’t layer unless you let go of the first layer. Dividing the emotional pie instead of collecting emotional experience to add to one another.

Teacher – Learning to play by ear in music is an important study for an Actor to achieve. Just like in music the notes being played are not done by wrote but instead by how the artist hears the notes and adjusts the tune.
All acting should be improvisational enough to adjust yourself to the notes that you hear as you are inside of the experience of your acting scenes. It may take time to achieve this, but it is the goal of all decent acting is this principle.
In addition, you are actually all learning to allow the other to play your emotional instruments. Giving over to your partner to have them play your emotional chords as you also interject how you feel about them. The reality is that the more you can give over to your partner, the more of yourself will be revealed.

  • Make another point somewhere else too. The key is getting your instrument to open and accessible to your acting partner and then relying on them to play your reality and emotional expressions. This way you are working off of them and you are also alive and spontaneous in the presence of the scene. The script has already determined your outcome, just as destiny some say has determined your life path. The more you give over yourself your open instrument and emotionality to the other the more you will accurately live out what the writer has written.

Layering Emotional Preparation Techniques

Layering Emotional Preparation takes the skills of being able to achieve single emotions in Actor Preparation and add another emotion to that Layer.

The skills of Layering Emotional Preparation involve relaxation.

Learning how to relax and gesture yourself to be able to keep one emotional thing still while you get another emotional thing also activated is a step-by-step tricky personal process.

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.

After being assaulted by an industry student associated with the school Simon moved on to finish his acting books and start teaching acting online. Studying every area of Meisner Training with well over 30 Teachers including himself.

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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