Mastering Expressions in Acting result in emotions Jetting out from the Actor like a Dance in the Wind. Acting Techniques spark Activation from Preparation and mixes with Receiving to catapult forth the moments in real time.
Some Main Quotes from this Acting Article:
“Mastery is what looks effortless to the audience.”
“Relaxation births Mastering Expressions”
Chapter in Book Mastering Spontaneity in Acting Book Draft by Simon Blake
Mastering Expressions in Acting
Mastery is what looks effortless to the audience , but in fact it takes a lot of talking on the back end to make things work out well. Lots of planning to make sure that the artistic elements of expression is effortlessly released which some may call a sleeping state of releasing energy or energies. –
The irony of mastering anything is subjective. In actual mastering there is no domination. To the viewer it may look like mastery, to the experiencer there is often a clunkiness that is still present even when fluid. The key to mastery is in the effortlessness of responding to moments within instead of moments where you go outside of yourself to express. Going outside of your inner life of self to find your expressions is performance based.
Mastering Expressions in acting starts with Emotional Activation using Actor Self-Talk.
When we say we are working to master something we are working to find it within ourselves and allow external stimulations to activate it. To be free of the experience so that we can effortlessly interact with it what stimulates us. In effortless motion we will respond with automation and honesty rather than quantification and questioning.
Key: Learning the mastery of anything is the learning of receiving it without rejecting it.
Most people in life force their actions, behaviors and words. Some people in life go with the flow regardless of the logic at the time. It benefits the learner even if they are the teacher to take in the other rather than try to overwrite other actions with their own enforcement.
Helena listens to others only when they are yelling at her before this action in others, she carries the belief that she is in control.
Melinda listens first and sometimes suppresses her own feelings from releasing double checking the facts before she allows her own opinions to inter-wind.
What you reject or off put when you are receiving you are not fluid with. If you go outside of your internal flow to for validation or up in your mind for validation you are quantifying your experience and not allowing it to happen to you. Logic when receiving rarely has a place. Your internal flow is the connection to the other person, thing or circumstance.
Mastering Expressions is releasing into the Freedom of Expressing.
Breaking the connection causes faults in acting. Learning Mastery experiences the connection regardless of how the interaction causes us to respond.
Mastery invites and coagulates as its own function rather than precision of doing.
Mastering Expressions is the Allowance of Influence in Acting
The mastering of something is the allowance of its own insight to be living in you without interfering with any new moments that may become alive by being in the place where you are. Mastering expressions is learning how to get out of the way of stopping your personal expressions because you are too busy controlling personal expression.
Any technique that has merit will be flexible enough to allow any new moments to inter-lay within the already anticipated moments without being abrupt with each other or halting each other’s expressions. In all honesty, mastering is the velvet process of accepting and receiving what is incoming even though you may have already a lot prepared emotional expression. Trusting that the hodgepodge of receiving and expression is the appropriate response.
Mastering Expressions takes trusting the other to receive them in the same space as your building emotions internally. After you have done your Emotional Preparation, you need to receive the other Actor into that same personal space as you have just personally been in yourself!
Crafting often layers the processes and receivability during times of expression taking place. Planned expressions morf into impromptu expressions which is part of the living art in life itself. What starts out one way may really end up an entirely different reality which is the cultivation of artistic habits assisting in expressing meaning rather than planned event.
Building a technique that does not destroy craft is the mastering of learning technique process. It is not to become a master over your technique and sacrifice all that is building up inside of you artistically in order to implement it. It is to allow your expressions to build up into a craft as components gather together and interplay as you develop a technique to support the impromptu expressions that you find in your work.
Internal emotion exchange with each other inside of you which develops a crafting or curving spectrum even to acting principles. Mastering becomes the literal doing of not over doing yourself so that craft can develop and uphold your artistic talents.
Actively allowing your expression to be present regardless of how it crosses the known of technique is a form of discipline to not regiment your approach. The Technique that is wrote become guidelines that develop in the artist and actor. The tact of not destroying the flex of technique that builds when you knowingly allow the development of self to occur through your expression is artistry.
Expressing is not about breaking the rules as there are never any rules broken with truthful expression. Normally there is a way to express yourself without violating rules and this is where intricate techniques violate expressions.
When you are Mastering Expressions and find an Acting Partner that you relax when you are around amazing things will happen for both you and them.
Knowing the Difference between Gut and Head
Mastering Expressions is the gaining an understanding of the difference between a Head experience and a gut experience can really assist the beginning of this work. The students within these pages who make it through the training gain the ability to work within their gut responses instead of their intellectual responses.
When your mind has to permission your impulsive reaction is different than when your body asks your mind for information before committing to an action. This key is an incredible edge of clarity to the sword that differs reality from faked impulse or forced reactions that do not come from your within.
Your Gut would never strangle your acting partner without checking with how the rest of yourself feels about it, but many times this gets mistaken-ed and reversed into that you need to check with your mind before being per-missioned to have an impulsive reaction.
The deeper your instinctual impulses go the more that instinct will ask the rest of yourself to be congruent with its impulse. Yet, the reality is that many actors block off the instincts communication with the rest of the actors intelligence. The goal is to be congruent with your instincts and impulses and allow the merging of visceral communication to merge with your impulses and instincts.
The Gut reaction will and can be fully lived out as the depth of the work takes place within the actor. This dynamic of gut wrenching work will be clear and precise to witnesses that your gut may want to and be amid-st expressing a depth of reaction to the stimulation that it is connected to yet the reality is that reaction is freely expressing itself and would go through many stages before it would overcome the information of the rest of the intelligence of the actor. This is key to understanding Actors Faith and Actors Trust.
When the actor understands viscerally their own emotional build up they can fully relax and allow their gut level to connect to the stimulus within their scenes.
You know where the beginnings are starting from on an initiation because the gut will come from a centered depth and intellectual idea will come from outside of depth. If when the intellectual idea is mentioned there is a personal gut reaction to it than you will have the opportunity to start working on the material from a gut level rather than a head level.
You can know you are working from a gut level over a head level also by a tightening or loosening of muscle within your body as an initial topic or continuing topic is discussed. Every time you work as an Actor you want to work from a place of viscerally instead of a place of idea and outside thought.
Working from viscerally you allow you to include all of yourself in your work and not a limited amount within your work. You will not need to parent yourself to permission every aspect of yourself into the work unless your intensity of the topic brings you to vomit or illness.
If you are a rookie into the world of acting you want to allow and include as much of yourself as viscerally possible without holding away from the work any part of yourself. Allowing your intellect to be present is key in being present in your work but making sure that intellect is not the initiate of your participation with the material. There is no way that is the way. Your participation is the key to your being present with and aware within the work. This involves all aspects of your gut feelings to be present and alive to your talents present ability.
Once the gut is opened to receiving the present situation it will have an impact on your logic and be constantly informing your logical as well as kinetically the rest of your body. An open gut to receiving stimulation with a connection to the stimulation is the goal of working with the gut over working with the head.
The head will try to block off any real time stimulation before it decides if the stimulation is friend or foe, but the gut connection to stimulation will be able to respond to the stimulation that it is connected to with much more subtle influence and often times at many times more layers.
The Trust that is aimed at in the training of Acting is the trust to allow the connection with the gut visceral level to be connected with the stimulation to begin right away and even prior to the acting work when preparing for roles or pieces of the script. This is the artists work as an actor to connect themselves to the stimulation that they will be relating to within the acting work.
The work it can take an Actor to personally trust themselves to connect to materials that move them internally can be tremendous and a real effort may need to be put forth in order to train comfortably connecting the actor with the material.
In many cases an Actor may take years to be able to connect themselves to certain materials in a comfortable way which is part of the growth that the actor takes on and learns about acting as they learn to receive without pre-judgment. Many times a person responds differently when inside of a circumstance than they thought they would have responded while outside of being in those circumstances.
Acting Classroom Section
Mastering Expressions takes the ability to learn Emotions. Emotions are Deeper than Feelings and will jet from the Acting Student once Activated. Emotional Activation is the Key to Mastering Expressions. Expressions will jet from the Actor when they are released with Freedom. Freedom is an incredible necessity to have Full Expression.
I have all this energy and I am just not sure how to utilize it during parts sometimes” says to his roommate. “I just know there is something to learn about things and continue to get into with the energy that I have available.”
“I know what you mean. There are times when I don’t feel that I have even left myself in the parts I get both at auditions and in the small parts I do get.”
“This article talks about using techniques to gain consistent effort in acting and we could audit this guys classes together”
- Do the article thing again in this book . It is solid.
The roommate reads it and they both make their way into classroom.
Storyline – two of the students are getting parts occasionally. One commercially and one got on a television. Their issues are that they are not having consistency enough on set to keep themselves alive in their acting when they book gigs.
** They don’t know how to access their improvisation techniques –
That’s the story.
It works for them sometimes, but fails them most of the time and they can’t figure out why. Their search for why ends them finding this school/teacher. Who apparently teaches actors to have their own spontaneity and improvisational ability.
They figure there is an odd chance it is real, so they enroll in the classwork.
(They roommate together) >
Teacher – Congratulations you all got into the class. There was a small list who wanted to join but we are going with all of you for this one.
The students have various reactions to being in the classroom.
Teacher – “ “ . . . ..
So technique is learned so you will encounter more of an experience than would without it. You stay with a technique and learn technique to learn to habit yourselves towards having the experience rather than evading it. In life this is the biggest difference between Artist and Victim. A Victim will habitually open themselves up to an abusive pattern rather than opening up their responsiveness to the stimulation.
This is key. We are not here training to be sadists but training to improve our responses by availing ourselves to our open availabilities. Mastering Expressions also includes Relaxed Availability. Relaxation births Mastering Expressions.
We will learn Techniques in this class which will favor ourselves towards having the experience in front of us rather than blocking ourselves off to it. Without learning techniques many of us would miss the experience of life available to live in art.
- These examples will go into moments in the improvisation. And rehearsals.
Not just scenes, but also lines of actual improvisations.
Goal is to follow a storyline of the students learning for the first time the work. Some students are familiar with parts of it. The storyline needs to include real life experiences of the students as they are taking classes.
Catch the unpredictability of the learning.
See the lessons being realized in a real time experience.
Actual lines from classrooms training in this work.
- Add- the idea that rather than running your mouth and improvising conversation your improvisation will become listening with reality.
(Address the conversation rather than improvisation based on emotional elements)., like nerves or an emotional stimulant.)
Example – student brushes up on their vocabulary. Getting ready for classes is reading a vocabulary book of meanings. They are well explained verbs and vocabulary that Actors typically use.
Although this is not a typical acting preparation, student finds there is a value in it so they can stay book smart and understand the meaning of the other actors.
Example – librarian job with student. An indexer books by title and author. Finishes the reading of the Sanford Meisner book on Acting. ? Or another title. . ? ?romance novels seem to relax her mind and body. Quietly reading gets herself ready for the first day of classes.
Example – a personal trainer. Goes out to a boxing match the night before class.
Teacher – Acting is like music. You have a major chord and a minor chord. In Acting those are major emotional chords and minor emotional chords. The only way the music plays is staying connected to the keyboard and then the
Your own reverberations will occur as long as you stay connected with your partner. Learning to trust that is an interesting journey for each actor.
Understanding that when you have a genuine impulse you change notes is part of allowing yourself to stay connected and have things happen to you by being connected to your acting partner. Mastering Expressions means that your are receiving your partner with what you have already Emotionally Activated.
When you really begin to advance even on a basic level you allow the other person to change your emotional chords as you stay connected to them. We will work to that ability, but at first just staying connected and allowing things to happen to you is key.
Allow yourselves to be turned into Musical instruments in your Acting. This simply means to stay connected to your acting partner during your acting.
? Students learning from each other.
- Stories of how each of 5 students get themselves ready for taking classes.
? Could be interesting. And – how they end up in classes the next day. Arrive in different preparation states.
- One goes out for a good time to relax. And forget about everything in life.
- Another goes to a play and forget themselves in it.
(Comes into class motivated but also wanting to mimic what they saw the other actors doing. This attitude of approach of mimicry will limit the learning of the student).
- Goes over scenes of certain movies that are favorites.
- Listens to interviews with actors habits
- Go to the pool hall to shoot some pool . – Casualness.
- Goes to a boxing match/ – ends up a in class tense and feeling like wants to force others to do things. May not be everyones response to witnessing the event, but it is his.
Regardless of the variation, each student arrives in class with some type of motivation from the night before. This motivation enhances their experiences in the classroom. With some time they will discover what is a better motivator than others. Mastering Expressions takes tenacity and willingness for the Actor.
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.
Copyright 2016-2019, Simon Blake
Mastering Spontaneity in Acting Draft Copy
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