Learning Acting by Being is the Incredible Journey of Self-Discovery in acting. Learning Acting by Being amplifies your talent as an Actor. Being is the Emotions side of Developing yourself for Acting. Doing is the Interaction side of involvement. Having both Being and Doing you can succeed as an Actor.

By Adding Being you add your emotion into your Acting Interaction!

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Some Main Quotes about this Acting Article:
“Being is the fabric of what already exists within you.”
“Acting is the reality and in order to have the reality we must have the Being.”
“Being is the essence of emotion in acting.”

Copyright 2016-2019 Simon Blake

This is a Special Chapter of Book “Mastering Spontaneity in Acting” by Simon Blake, Copyright 2016-2019 Simon Blake.

The Beginning of Acting:

ACTING CLASSES INFO: HERE!

Learning Acting By Being

Learning Acting by Being is an incredible different way of achieving yourself in your acting work. If you are not in a place of being, you likely are not being receptive to what is going on around you. Being comes first in ab-ling yourself to be able to Act or respond to anything. You want to learn to act with what and who you are. If you do not start with what you are than you have no base of reality that the imaginary world of acting can happen from.

Learning anything that could alter who you are or how you behave will come later in the Acting process. The first thing to understand that from what you are is enough to be an Actor. You do not need additional fanatics or to perform intricacies before being.

Being is the state where you always want to be able to start your acting from. This baselines your reality and gives you a platform of which you will learn to craft additional outputs.

Learning acting by being gives you the advantage of using both being with the interaction of doing in your scenes.

Learning Acting by Being will take you to levels emotionally within yourself that you only would have dreamt before doing the Being side of the acting work.

When you are starting in a being state of actually existing you gain freedom to respond as you do without having to control what is around you. You let go of controlling others and you let go of the expression when something affects you freely. If you have an inkling to respond and you feel a half tickle of expression than you let, go of that half tickle of expression.

Learning Acting by Being helps you find your own talent. Talent is the ability to activate your own emotion in acting. Self activating your emotion in Emotional Preparation is the first step towards acting with your emotion. The Second Step is to receive the other Actor rather than having your attention on your self activated emotion. Receiving the other Actor keeps you in a state of Being in your acting.

Being is the fabric of what already exists within you.

What you start with is yourself. You get into a receiving state of intaking the circumstances or events unfolding. You permission yourself to be in the circumstances rather than having to act that you are in the circumstances.

Being is the trusting of life which is different than being ignorant. The best way to be is to understand that you have intelligence and trust within yourself that learning helps growth.

Initially let go of:
Your not needing anything adjustment wise
Your not doing anything to affect yourself
Let go of any preconceived notion of how the immediate future will turn out

Learning Acting by Being allows the Actor to take away preconceived notions allowing them freedom to work with pure Emotions.

How you already exist is enough to work with in your acting. Learn to trust how you already exist is enough and expand your abilities by letting go of all pretenses of effort or need to act.

This step if you learn it well in acting is just as important as any other addition in acting. Many Actors go off and have long careers just based off their ability to Be without any acting experience to begin with. But they start with the ingredient of Being and an effortlessness of believing that they need to be anything or do anything that they are not.

There are Two Different Types of Being in Acting

The quicker you can learn how not to act the quicker you can learn how to act. If you are unable to include yourself unaffected in your work when not stimulated you will likely not know how to be affected in your work when you are stimulated.

It is absolutely of to not be stimulated when you are acting. There is a time and a place where if something is not stimulating you directly you do not have a direct response. This is honesty in acting. The honesty of not acting when you are not directly stimulated is a craft that most Actors learn late in their career.

Learning Acting by Being is the empowered way of doing artistic work as an Actor.

Empower yourself to allow yourself not to be reactive if you are not affected. Learn to contrast your own efforts in your acting work by being able to stay settled enough and confidence your own unaffected being in your acting work. This way when you actually are directly affected your response will be strikingly accurate to what has stimulated it.

Two types of Being
Unaffected Being (Not being directly affected by a stimulant)
Affected Being (where you have a direct stimulus affect you)

Examples:
Unaffected Being
Having a bad day and letting it go before doing the work. Knowing that you had a bad day yet not continuing to focus upon it. Instead you focus on what presently affects you.

• Enjoying the space that you are in without
• Being open Affected Being
• Your an alcoholic and it is just a matter of time before next drink.
  (Your alcoholic tendencies are itching)
• You get your chair thrown towards your direction.
• Someone accuses you of doing something to them.

Best place to start in acting is at the place of Unaffected Being. (There is nothing ongoing thing affecting you, you are just in a state of existing).

If you are not yet able to as a person understand when you are already pre-affected by a circumstance and when you are more private this could be a radical difference in yourself understanding. Most people in everyday life are not aware of when they are being affected and the difference when they are in an unaffected Being state.

Learning Acting by Being sets the table for the Actor to achieve Emotionally.

The busy bustle of society has caused most ordinary people not forget when they are affected by something and when they are unaffected. Artists and Actors must master this. The more you are capable of understanding this difference in yourself the wider the canvas you offer yourself as a baseline for your career.

Befriending the voice within yourself and understanding what drives you as a person is an incredible asset if you can harness it. You cannot harness what drives you if you are not able to learn when you are unaffected. Many Actors in their own lives have events happen that motivate their existence to live. What is suggested is to identify those motivations.

Understand how you can get to a state of being rather than a state of doing. You likely wake up in the morning with something affecting your motivation. Maybe it is anger towards child abuse that drives you forward in the morning. Possibly the motivation in your life is driven by a fear that you are a failure or that if you don’t keep moving you will fail the expectations of your mother.

When you look at your unaffected being you may realize that you do not live any parts of your life being unaffected. Not having times of the day where you are unaffected is a problem for yourself as an Actor. It will benefit your training and artistic involvement if you leap into times where you can honestly say that you are not bothered by anything.

Learning Acting by being allows the Actor to have honest Emotional Expression.

Many Actors are neurotics in hiding. This is why their acting is so dependent upon performance techniques rather than states of being. These Actors struggle to be able to let themselves be because they are raging inside about life or about their life circumstances. What you cannot let go of is likely something that you need to be careful working with. If you are a neurotic don’t expect artistic craft to heal you.

If you can get to the point where you are unaffected by a motivation of fear and instead motivated by a wonderment of what is going to happen next that will be an achievement. The point in learning about unaffected being and achieving the ability not to be directly influenced by something unless something is in contact with you and actively happening is maturity.

If you are working on a part and you are unable to take the topic and think about it obviously motivates you. However, you are a complete neurotic if you are unable to be in a state of unaffected being when the topic is not in contact with you. Too often Actors take up acting to put their anger and neurotic intent into acting parts. Although results are capais the ability to have the health required to work

The reality of Hollywood is it consists of many neurotic people who try to hide their neurosis behind their acting roles. This includes producers, actors, agents and writers. It does not take a neurotic to do a neurotic acting role. The most common casting call is to find a real life example of the desired neurotic to put in front of the camera. But this type of casting doesn’t add art to the acting.

Neurotic Tendencies of uncontrollable expression are not the artform of acting. Acting is about how you can work with in interaction and the activated emotion. Even work to deepen the depth of the role without any neurotic tendencies added.

Before we begin to work with all different ways to start scenes being affected in different ways, we first want to start with unaffected Being states. This way we are clear from the effect of prior circumstance, and we are present to take in what occurs if and when it does take place in scenes.

Learning acting by being will enhance the quiet stillness of artistic qualities within your acting journey.

Unaffected Yet still opinionated

Being unaffected means not having an active affect or direct affect happening to you on the topic. This does not mean that you don’t have an opinion about what activates you about the topic. Many people feel strongly about certain topics, yet it doesn’t activate in them unless something happens to incite it into active existence.

You may and likely do feel badly about the reality that part of humanity is starving in this world. However, you don’t go around actively neurotic about the reality of starving humans. You may have a very grounded solid opinion as to why the human food supply chain is so affected and have solutions to the world population being able to get the nutrition they need.

You can still be in an Unaffected state of Being with a strong and solid opinion. This is a grounded, solid approach to being sure of yourself and how you are input into the world which you live in. Unaffected Being is an inactivated opinion, not an uncertain opinion.

Additionally, as you work on the parts you do in acting you want to add to the certainty of how you feel about the topics in your acting circumstances. You don’t need to affected all the time by your acting circumstances outside of your acting training towards the role. You do not need to be a raging alcoholic for 3 months before you film being a raging alcoholic for the part.

Your ability to strengthen your solid and certain opinion about the role will assist and strengthen your outcome when the topic becomes active in you. The health of the Actor is part of the balance of the Actor in their life and also in the extremes of the acting role.

As you learn acting you will learn to be able to achieve unaffected being on more and more subjects that matter dearly to you. You will be able to have strong, strong opinions without the obligation to carry around the active feelings of how you feel about the topics. This generation has a concept that if you don’t act out how you feel about a topic instantly that you don’t feel the way you do about it.

This technique is the learning to be active and how to be unaffected by those things that matter the most to us. Gaining this ability may take working with the feelings in exercise before we can come to terms with the topic to not carry around that active state within ourselves.

Trusting that that topic will reignite when we reignite it or it activates by another’s interaction with us in our work is another part of the puzzle to becoming a really solid Actor. We do not loose what we feel strongly about just because it is not active within us.

Affected Being in Acting

You want yourself to be affected viscerally when acting. Visceral receiving is the key to Listening. REAL Listening involves visceral receiving.

IF you listen for only a line cue you will not hear by ways of receiving all the content including body language of the other actor. IF you listen by receiving you will encompass the other actor and take in all they are outputting. Your compassion will be affected when you listen with receiving.

Starting out in a place of being rather than a place of doing gives you the advantage of not having anything expected of us.  There is no predetermined outcomes desired or that need to be manipulated.  There is expectation that you need to learn early on lessons before you begin.  What you are and how you are is your beginning. 
In Affected Being we harness the reality of life that we often carry around motivations and stimulations that we do not live out.  We are indeed living out the reality of being affected yet there is no result other than that we are stimulated.  We are not acting out the effect, we are simply being with an affect active in us.  

Acting is the reality and in order to have the reality we must have the Being.

Learning Acting by Being will catapult you into emotional experiences.

Keys:
You are affected yet not acting out the effect.
You have the thing going on in you, yet it is not directly expressing (yet)
You have the motivation, but you don’t have the direct contact.

The most agile state of existence is the state of Being, the zero point in physical existence. There is no pressure to be successful and/or create anything by yourself that does not actually exist in you.  Any action you do in a state of Being is a shared existence with another person or thing that stimulated you.  There is a sense of presence that exists when you are in a state of being of neutrality and balance.  It is not a trying to achieve anything with a state of Being but purely an existence of self.  When in a state of being you are not expected to do anything with your state of existence because your state of existence is already enough.    

The state of Being is the overlooked state of existence that is the basis point for any other action within Acting or Creative work.  There is no expectation only an acceptance of what one sees and experiences until there is a pinch to their instinct to respond with a fight or flight response once their Being is affected.  Everything is bliss and the awareness is balanced until the pinch effects the one being affected. 

• working from a state of being is working in a state of Not Doing anything to activate yourself –
• add A state of non self stimulation. present to surroundings and open to whatever happens or stimulates you.
  
  Working from a state of instinct in an incredible feat but working from a state of being is the ultimate experience and grants the ultimate ability of fully utilizing one’s own talent in film and creatively.
  
  Instincts improve themselves the more that the ability to Be is uncovered as they are able to have the quiet and balanced state of being needed to sharpen and tune themselves. The better understood by any person, the Being state that resides within them the better their creative and artistic endeavors will be able to realized and not achieved.
  
  The human beings natural state is that of relaxation and contentment. The achievement of Being is the feat of balanced neutrality of peace within. The instinct either reacts to something pinching the human existence in a Being state or it flights to another location away from the stimulus to find balance. The state of being is the state before instinct.
  
  We must also have a secondary understanding of the state of being. If a person has an experience and then returns to a state of being they are in their most relaxed state, but it is apparent that they have come from a previous experience. Just because a person has come from a prior experience does not mean that they are actively pursuing achieving something with that prior state of existence.
  
  They may be affected but still be relaxed and, in a being, state of self. This is an important core to understand as we enter into the world of Acting and understanding how emotional undercurrents fit into our training.
• in order to be in a state of being you must be in a state that is capable of listening??

Being is often the Growth stage of presence

Learning to be in an open way that is congruent to being present with another or present to an outside circumstance while still being is often the highest form of human growth that can be obtained.

It is a state of awareness that builds in a captured way the human experience that you are going through while in acting and scene-work. It is the relaxed element of knowing that you can influence what it is going on but not be in control of it that allows the experience to permeate you. This is also the place where the most happens to you and you happen the most to it all at the same time.

Learning acting by being will further your growth as an Actor because it starts with the Emotional Self-Activation.

Forgotten Fact of Acting is Adjustment

It’s an absolute forgotten fact of acting that adjusting your being is the learning process in acting. Adjusting will gain humanity. Even when you struggle to be human or identify with the other you will improve your human interaction ability when adjusting??. The more you learn to adjust your being when you are staying connected to another in your acting the more you practice your actor’s responsiveness. Being is king when you learn to adjust based off of what actually happens to you in your scenes. You work to adjust yourself to be more comfortable or expressive with what you are internally going through.

You adjust from being moment to being moment ever keeping yourself able to respond to what you are presented with. In order to gain your own betterment of actor’s faith you gain the comfortability of consistently adjusting so you can be in a state of being. If the script gives you something to do then you adjust to being comfortable doing the thing that is scripted for you to achieve while keeping your own sense of being alive and comfortable – ??

Improving Skill Learning through “Being”

In order to improve the ability of our existence we have a choice to make as Artists and Actors. We have the choice that is consciously ours to make of what type of Artist/Actor we would like to become. If we forget what we are or ignore what we are for what we are becoming, we are not becoming into our existence but instead forcing our existence.

Do we want to learn the skills of Acting so we can illustrate our skills on camera, or do we want to learn the all-encompassing abilities so we can have both illustration of skills on camera but also human growth on camera and thus obtain more of our humanity? Human growth cannot be acted but if you learn acting a certain way it can be a consistent part of your acting.

Being is the first step in taking in and participation of any experience. We can choose to block out parts of our being or to accept all of our being. “Being” is often the greatest teacher of Self and thus offers the greatest opportunity to improve skill learning.

The attainment of human growth is a real thing. Audiences receive human growth and recognize it as part of an Actors ability when it is present. It is an actual choice that we can chose for ourselves and must make the choice ourselves in order to adapt to the knowledge of those who know how to work in ways that achieve both results at once.

It is working through vulnerable and honest situations with 100% sincerity that can teach you both Acting skills and Acting realities in a balanced way that allows you to strengthen and understand who and what you are as yourself. An addition is the learning of cooperation and a trusting that is pure, which can lead to not only great Creative works but also lifetime relationships of trust between Artists and Creatives, Directors and Actors.

Learning about yourself as you work through the work of acting or creative arts will allow you to grow in who you are instead of growing only the skills of who you are. The book enclosed is an encompassed work of the grander ability of Human Existence. It is an instruction manual to the curious and heartfelt lesson instruct to the sincere. The choice is left to the reader without judgment from the writer.

We have all grown at different times in life and at different stages of life in ways that are unique to us. Some readers may attain knowledge directly into their core hearts and others may attain only the instruction of how to do the exercises and either way will result in a thorough attainment of skill and hopefully a realization of self will eventually occur within its own timing.

Being is the most interesting of happenings when the person tends to always go back to a state of balance, harmony with self which sometimes takes years to naturally happen. The writings are meant for an instruct as well as a review for those who have done the work and have stepped off the work at different stages. The book is an offering and a gift to the soul of the artists inside both Creatives and Actors who pursue their own function within the entertainment industry.

The most important aspect of Being is thus giving over to the reality of your truthful observation and adjusting so you can discover that truth, the truth of your real observation. In time the reality of truthful observation and Being can occur almost simultaneously. But the realization of this separation can bring perspective and scope to your work in Acting and interaction with life.

The super talented Actors that achieve the highest of success often times have the full knowing of what their reality of their truthful observation always in tune. In short, they know what and how they feel at almost all times. Knowing how you feel colors the art of the canvas you are working upon and creates a sincerity in the work that is never able to be tarnished.

Often times the people who tend to grow the most are the ones that permission their hearts to be broken by the actions of others, so that they can learn about the others behavior, intension’s and desires no matter how unpleasant or surprising they may be. The courage to remain in the Being state of Vulnerability is the victor in the lesson learned by the experience of Being rather than reactively protecting one’s self’s ego with egotistical words or gestures.
States of Being Include:
(Listening also Includes):

Different states of Being in Acting:

Receiving state of being is the presence of self that the Actor desires to have in order to be able to include their human growth in their acting. An Actor can ask themselves after their work is complete if they are improving because they are alive within the experience or are they improving because they are convincing themselves that they are improving.

Real growth from a being state of presence comes from being in a state of existing within a circumstance or with another person. It does not come from self-growth because one decides for themselves that they are ready to have their personal growth and it commences upon their command. Real growth commences upon an interaction with another person or a personal experience.

Being in a receiving state of being in presence means that you are in a receiving state of listening. Acting is more than listening but not by much. An appearance of effortless acting will commence if the Actor is in a listening state of existence about 90% of the time and an expression of their existence about 10% of the time. Most early learners of acting will try to perform an expression about 90% of the time and listen about 10% of the time.

Being is a state of many possible realities combining and happening at once, not just the action of expressing your existence. Being is the trusting that self-evidence is surrounding you as you receive all that is around you and that the need to express yourself will occur from an internal impulse that you will have occur within you. This is far different than an internal impulse that you will plan to execute in what may be thought in your mind to be the right timing.

Many early comedian Actors and dramatic Actors feel that they have done their job if they have participated in their scripted expressions. The reality is so much more than scripted expressions. Having any sense of being is far more powerful than just having your expressed scripted participation done on cue.

This type of acting turns acting into an art-form or personal expression from scripted expression. The elements of Being cushions and layers the actor into becoming an artist in the exact same moments that they could have chosen only to become a scripted participant in their acting form.

The audiences appreciate the expressions of the actors most when the expressions come from pinches and touches from the other actors and circumstances. The craft of acting is learned through the exploration of being. The ability to both be and stay connected in a relaxed way with others you are working with are the keys that can open your participation in real time experiences in the acting world.

• what other states of Being and Presence are there??
  This section needs to include or have a section later on that lists states of being present.
  (Active States and Passive States, and aggressive States)
  LISTENING STATES and NON LISTENING STATES or Both /
  Are these states of Being or states of Presence?? – great question.
• states of Presence,
  Having a state of presence and having a state of presence without a state of being is a fraudulent state of self.
  Must have a being state of existence that supports the present state of Presence. Trying to have a state of presence without a state of being is ridiculous representation of self.,
• You do not want to have a representation of self that is not inherit to you should state of being. If you, are you are frauding yourself from a truthful full experience.
  MAKING this distinction at this early stage in the work is a gift to the artist because an Actor must transcend themselves into their Acting environment in a state of being and not a false state of presence.
• FIGURE THIS OUT _ because this is everything to the book values.
  How do you tell if you are in a state of being or a false state of presence? Are you presenting a version of humbleness or are you in a being state of humbleness that allows the humbleness to leave you if it chooses?
  
  Are you controlling your state of Presence? If you know how to craft your Acting, then you can learn to be in a being state of humbleness that does not control the humbleness or present the humbleness to others in a false state of presentation.
  
  Controlling a state of presence takes precision and an ability to control one self’s states of presence but can often result in a false state of presence when their state of being has another expression that it is emitting.
  
  It is not about building a state of presence up to the point where it is so believable that no one will notice your state of being. Building a state of presence without incorporating a state of being is a false journey to conquer over self and to achieve a paradox that is contrary to ourselves own state of being. Presence when controlled in a way that hides self is a false state of presence and a fool’s journey to control.
  
  Working beyond the false state of presentation is the key to turning your Acting into Artistry and allowing the per-missioning of your experience to happen to you rather than you are creating a false presence of your acting.
  
  Acting should be learning the ability to craft your own state of being without controlling your presence state of existing.
  Example: Tony blames Gary because Tony builds himself up to be a thing that he says that Gary will not work with in his Acting. Gary can see that Tony is in a false state of presence and constantly worried about what others think.
  
  Within the work that Gary and Tony are doing the building up circumstance is that truth that Gary sees that Tony is in a false state of presence, and his reality is that he is worried about what others think about him. That truth is the small, less than 10% thing of what is really going on that Gary must allow to be pinched from himself and to express that one thing so that a pivot point can be established within their work. If Gary ignores that pinch of reality that is within his perception, he is excluding himself from his own participation in the work.
  
  Gary works with Tony anyways despite the obvious bipolarity of Tony, as Gary is still learning to express when he is pinched in his acting work. Gary will later advance this but at present is just a simple nice guy and working scene partner with Tony.
  
  During their work together Tony breaks down to Gary and tells him he just doesn’t think he can go on any longer doing this project. Gary having patience and knowledge helps Tony get in touch with his state of Being rather than his state of Presence and they are able to continue to do the production. Tony needed to gain connectedness to his own state of being and after being showed how to do so he was able to find his own inner strength to continue the production. Tony now admits that he has a lot to learn about his being and is thankful to the talk that Gary gave him.
  
  The end result in Gary and Tony working together is Tony learning that he did not need to keep up a ‘Persona of Presence’ the entire time he is in the scene with Gary. This is in fact growth for both Actors. A sharper actor would have included Tony’s predicament within the working environment of the scene and included an improvised line about Tony’s reality within their scene. But the reality of what takes place still has value to both actors. Both actors still grow from working together and the kindness of Gary, Tony really appreciates.

The Lesson of: Persona Of Presence
When an Actor believes or a person believes that they need to have a False Persona in order to have Presence. Often times Persona of Presence refers to an Actor who has yet to learn the understanding that they do not need to be ‘ON’ all the time with a performance of self while during a scene.

A regular person in life kept up her Persona of Presence even when she was tired. For the first part of her day she seemed more genuine to others than the last part of her day where it became more obvious that despite her efforts that she was not in the persona that she was presenting herself to be in.

**** THIS breaks the mold on all acting lessons. INCLUDE THIS IN THIS FIRST SECTION.

Difference between good work and Real work

The difference between your work being good and your work being real is whether or not you have a state of Being in your work. Most real work that actually does connect to the audience is better than good work. Most times when actors are lied to be audiences about their work being good it means that the audience found a way to tolerate it because they did not really connect to the work that was done.

The difference between good work and not good work is the ability of learning acting by being. Being is the essence of emotion in acting.

It is really difficult to relate to an uptight actor who struggles to relax their own sense of being while they are acting. Audiences can learn from watching these actors in new ways if they begin to learn about the craft of acting instead of watching only for their own personal entertainment. Most audience members want to obtain a personal experience over wanting to be entertained.

Are you a relaxed human being in your work of a prepped Actor that is ignoring 90% of what is really going on in the scene or improvisation? Being a Human Being in your work means being in your work! What audiences will witness is that the actors will take time to learn to relax. There are so many cases where the audience notices things that are going on in the scene that the actor does not because the actor has not developed themselves to pay attention to what is happening in the scene work.

Only having a state of “Doing” the scene can produce good work but not real work in the fullness of what realism can be for you. If you are not including your-self’s Being in your work and these traits below are not included in your work than there is significant improvement that you will be capable of.

By including the following traits of Being in your work you are being more than doing the job of an Actor in a scene, role or part. This book will also include the knowledge that an Actor needs to be able to learn the job of acting but it will also teach you the ability to learn the craft of acting. The ability for the Actor to be able to Craft themselves into their work often starts with the Actors ability to craft the being existence in their work and to become in their work. Becoming in the work of Acting is the real time development of the Actor in actual self-human growth.

The results of correcting your work and skills of Acting to include your personal state of Being will result in your human soul partaking in the reality of the circumstance. Personal Growth results because of your willingness to selflessly include yourself which means that you are using your own Being and putting Being into your work, not someone else’s being, but your own Being. (at least to start).

Learning acting by being is the adventure of soul discovery. Activating the emotions before you do the interaction of acting.

Learning Acting with your own Being is the most practical way to start learning the crafting of your being and putting together the craft of acting with the job of Acting. Audiences’ intelligence is constantly expanding, and you want to develop yourself so you can relate to the audience rather than force an impression upon the audience.

->move to after the breakdown this next section _ Adding the state of your own Being into your work might result initially having to work through the nerve of including yourself in your acting and including who you are in what you are doing and your job of acting.

• is there a way here – to separate the job of acting with knowing what you are going to do in structure and the nerves of acting not being who you are as a person? It is not a value of self. Therefore, you must learn to include the values of self.
  
  If you are at a point in your life where your values have been lost, stolen, hurt, harmed or seemingly not present this is a moment in time where you are able to connect to yourself in tiny ways of what you know is meaningful to you. – goal: To separate the nerves of being involved in from the sensation and thrill of the ride of being involved. (two separate identities of self).
  
  Learning acting by being is the art of acting with emotions and not just thoughts.
  
  Some people try to get on a ride before they enter their work of acting because it supersedes the nerves that they actually feel. There is a time and a place but for that but in the interest of discovering and rediscovering who you are unanticipatedly you can offer yourself as you are with your own being and authentic self into the work.
  
  Trusting that you are enough to put into your work is a trust that an Actor would benefit from the onset of their training or retraining in the art of acting. (Question: the art of acting, or the learning of acting, or the craft of acting.
  Define all three? – maybe not.

Not Trying to Create Being Good

THEN BREAK DOWN THE DIFFERENCES BETWEEN YOUR WORK BEING GOOD BECAUSE IT IS AND TRYING TO CREATE THE WORK BEING GOOD, because you doubt that your work is good.
1st person Observation Vulnerability Exposing of Feeling
Humbleness Curiosity Connecting
Empathizing Cooperating Trusting
Awareness 3rd person Observation Readiness of Being-?
Cowardess ?Acceptance of what is present
-consider doing a Terms Breakdown on these words or in this part of the book.
Question: what is Readiness of Being:
The optimal state of an Actor is Readiness of Being. You are aware and in tune with your surroundings and potential of an event to occur, but you are not reacting to it yet because it has not yet happened.

JOURNAL QUESTIONS/CONSIDERATIONS: Journal Workbook: ? vs. Journal Entry

• What are your state of Being in your own life?, day by day. Does your state of Being change upon the location where you may be if so what are those places?
• Does your state of Being change with who you are around?
• Identify those people where you become in a different state of being when you are around them.
  (-placement?- ) Example: Tony is doing the production with Gary a two person show and Tony tells Gary that this one thing must take place –
  in order for Tony to be believable to the audience with the thing that he has planned out with his false sense of self. Because Tony is not used to working with his own sense of being he is not able to allow the happening to happen naturally. Tony is able to let go after Gary speaks with him again. Later on, they are able to find several times where similar event happens that is incredibly comedic and that they know the audience will enjoy because neither one of them are trying to make that moment happen the moment happens within a range of timing all on its own.
  
  They found that by letting their guard down on the topic of trying to uphold the element that they wanted to include that it became more involved into the project by their just allowing it to be there instead of forcing the timing of the event. Now whenever that comedic timing happens within that portion of the production, they both just go with the moment, and it is even more enjoyable to both do and will also translate to the audience’s enjoyment.
  
  Learning acting by being to reaffirm that you are in fact doing Emotional Preparation Techniques to discover yourself in your work.
  
  Lesson: Allowing presence of yourself to happen naturally permissions more things to happen in your work and with yourself than planning your presence. This is true in life as it is on stage or in film.
  Notice how none of these items deal in aggression or in a relation to agitating another but rather instead involve receiving.
• THIS REAFFIRMS THAT A FALSE SENSE OF PRESENCE BEGETS THE DESIRE TO FORCE YOURSELF ONTO ANOTHER BY FORCING YOUR FALSE SENSE OF SELF TO BE ACCEPTED BY ANOTHER WHEN THEY MAY NOT WANT TO ACCEPT YOUR FALSE PRESENCE AND MAY IDENTIFY WITH YOU IN ANOTHER WAY.
  (Allowing others to relate to you as they choose to is part of the ingredients to being able to receive from others. The less you control another into a certain perception of yourself the more you are granting yourself freedom to finding and discovering the other also. )

The Reason to work from a place of Humbleness and Cooperation is to get over your own Ego Self Quicker. Ego doesn’t assist your expression in helpful ways as it is thought to by many Actors. Ego can blind us from the abilities of discoveries about who we are and stop us from realizing things within our acting work.

Many performing style Actors believe that personal discovery is something that needs to be done outside of your acting experience and that personal discovery does not belong within your acting experiences. This book and this author firmly disagree.

Learning acting by being will enable your ability to find the emotions first before you are doing your acting. This way you can find your emotions, activate them then jump in using your performance techniques desired with the emotions helping your acting in the background.

It is vital the experience of the audience that if you are going to have an audience take a journey while participating in witnessing your acting experience that they are capable of personally realizing things while they are witnessing your acting.

Many Actors who are neophytes to the world of acting will believe that the reason to rehearse is to get all the real and surprising content out of their acting work and work through any surprising moments, so they have full preparation of what they are going to be ‘acting’. This book teaches the exact opposite of that preparation.

Learning Acting by being will teach you about your ego and humble you as an Actor.

• SECTION – about Ego, and the reality of Ego in Acting. Working from one’s Vulnerability means that the student admits when they are nervous, admit when they are scared, and let their own reality become transparent to the other person, if the other person is capable of seeing it. This is not a display of what you are feeling it is an openness to not hiding your internal feelings or outward opinions. This is the point of honesty that releases the cooperating factors when working as an Actor. Giving the other person a chance to reply to your vulnerability is a courageous thing to do and will most definitely bring out the most interaction between the two or more in the exercise or scene.
• The connection of the Artist or Actor cannot occur with the audience unless there is a transparency of emotional life allowed and lived out by the actor. Therefore, the Audience will not have an emotional life living inside of them unless the Actor is honest with the emotional life that is inside of themselves. The transparency is the honesty of allowing yourself to be present to the state of being in the emotion or feeling that you truthfully are in.
  Transparency does not involve any type of miming or pretending to be anything that you are not in actuality going through. Transparency also involves allowing the audience to feel as however they do in regard to you. This freedom of allowing another to choose how they receive you is the key to being capable of being able to work with the unconscious self with the selfless consideration of how others view you. This selflessness is a high form of artistic expression and is really purposeful during training as an actor.
  Goal: Gaining the Actor on the path of experiencing rather than trying to create an experience. Being is the absorption of having the experience. etc..,.

It is better to start from a place of Humbleness and openness towards having an experience than start from a place where you feel as though you are pressured to express yourself. Within the right timing of the scene allow yourself to find a presence of where you are before feeling pressured to express yourself.

The belief that the scene has a separate timing that you need to keep up with is a false reality because you contribute as an actor to the scenes timing and rhythm. The scene never has its own timing and rhythm without your input into that world’s reality. There is nothing to keep up and uphold when it pertains to timing.

In comedy there is a comedy timing rhythm in some scenes that will be developed with your participation, but it still includes how your perceptions are inclusive in real time. You want to work on elements that work to include more of your internal conflict more than an external timing.
When you work from a place of Humbleness and Openness towards your acting work you also help to open up the audience’s awareness without the environment that you are working, including television and film.

Preparing your Being in a way that permissions its own existence within your work gains the healthy acceptance of both yourself and the audience. Encouraging your real time participation in your acting will create the reality that is desired by the audience to watch and the reality that the Actor desires which gives a personal experience.

Learning Acting by being Summary

Learning Acting by being is the incredible self-discovery journey of acting. BY Doing the BEING side of the Acting work you can find that you are able to test yourself to know what you are accurately emotionally activating. This means you can learn easier what actually works for you as an Actor.

Learning Acting by Being sets you apart from other Actors who are only focused on the Doing part of the acting work.

Acting Long Term Goals

If you can break your acting down into when you are in affected ways and when you are in simple states of Being your work will improve. Later techniques will show you how to take in a moment with as much ease as naturally possible.

Eventually, you will be able to apply to materials and scripts an understanding of when you are being and when you are doing. The times where you are unaffected will contrast the times when you are affected. When you learn to work with the times you are not affected by anything particular you will start to achieve range and variety in your work with the times that you are in active states.

If you start your acting journey understanding that there are times where nothing is expected of you you will learn to vary different relaxed states within your work. Acting is just as much relaxing and being at times as it is being affected by stimuli.

The Long-Term Goal is building contrast within your acting work. This means that you are not in one single state of turmoil the entire scene but a varied state of different types of turmoil within your scene. That variance is achieved by including the principles of Being into your work and training.

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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Copyright 2016-2019, Simon Blake
Draft Copy of Book “Mastering Spontaneity in Acting”

Copyright 2016-2019, Simon Blake
Mastering Spontaneity in Acting