Recalling Real Life Emotional Preparation
Recalling Real Life Emotion is a key ability. Actors achieve this ability to further their artistic acting expression and connect with audiences. Recalling Real Life Emotion can be an incredible artistic tool.
Some Main Quotes of this Acting Article:
“The joy of living is the joy of experiencing”
“Recalling real life emotion takes patience to achieve and an inner allowance from self.”
“Then using that emotional background to launch you into the new experience.”
Copyright 2018, Simon Blake
Emotional Preparation Technique Book Draft Chapter Seven
Technique 5: Recalling Real Life Experience
(Mental recall turns to physical recollection and stimulation)
Please understand that recalling real life emotion and experience is not recollecting real life experience to relive out the same lived out experience but rather to experience a similar or paralleling experience anew. The results of going into the recalling of life experience may be predictable but not ascertained or written in stone. We do not recall asserting proof of what we have lived through but instead rather to explore how we will still do respond in the present.
We are not having a mental recollection without physical or emotional stimulation. We are intercourse with what the old recall of life helps to bring alive and active within us to live that out in a present scenario. Any memories that do not gain at least an emotional response within us is not useful for the stimulation of Emotional Preparation.
Recalling real life emotion takes energy, time, and commitment.
Dyslexia Actor Help Reading
First accomplishment is accessing your prior experience. Your work will always be better for the most part if you can Guster an emotional current underneath it. However, the key to it working is letting go of it. This is also the key to love. Many people hold onto what they love too tightly, and they lose the experience of now which is the anew experience. The full motion of life lived is what we are after.
The stimulation of a prior life experience can influence your own real time experience. The techniques to achieve Activating and recalling real life emotion will take you further as an artist.
This first example is an example of accessing a prior life experience:
Sarah has been abused in a relationship before. She doesn’t just believe that she has been abused, she has been abused. She also dished out some abuse herself. She recognized that she was caught within an influence that she did not have control over. Prior life conditions of family relationships with parents seems to also stick to her life choices which she is working on changing. Regardless of her present ambitions to change she is aware that her old reactive habits may rear themselves into her acting work once she starts to recall her old abuse cycles in life. This is not a therapy to attempt to heal her but a practical scene of how she actually responds under similar stress which is needed for an oncoming scene that outtakes may be taken with the one camera that is present in this rehearsal test.
She knows what it is like to be in a dysfunctional relationship and the scene is about a dysfunctional relationship. She recalls a very specific moment in her life prior. She was so angry at her partner. Her partner Sally had gotten too close to another woman at a party they both attended. As she is mentally recalling this something in her sparks a jealousy and rage. This rage turns to a very specific abandonment fear. Just thinking about the incident feels like she is trapped in something she can’t get out of.
Her activation is resonating in her based off the very specific thought. She goes further into the example and tries to remember every single detail of the event as it occurred moment to moment.
Sarah comes into the acting work and tries to live out moment by moment what she is feeling. It emotionalizes her but she is not taking in her partner or their reality. She is simply responding as if her memory is the only thing that is important.
Recalling real life emotion often can occur as immediately as some start to remember the experiences. The KEY is to RELAX into the experience being recalled and acknowledge the visceral effects of the memory
The success of this is that she became emotionalized by what started as a mental memory. The failure is that she was reinacting her life’s history rather than living in actual real time experience.
We need to understand that there are many people who would teach the Emotional Preparation this way as being correct. They are right and correct about the experience stimulating emotional content and life. Life not lived however is a lie. Please understand if you do not live the life in real time experience than you are not putting yourself in a condition in your scenes where they can expand on their own. Real experience in life expands with our interactions with it.
Prepared elements that are emotional is an approach to acting but it can be taken naturally further. It is recommended that it is taken further. Recalling real life emotion will enhance your life experiences.
We need to understand the best way to approach recalling real life experience is to activate it and then let it go. It is unpredictable to some degree. The prior experience becomes the obstacle, if you don’t let go of it. Prior experience with love will hinder the continuing of the experience if you hold on to the prior. Love let go of will return and every time it returns it will be with new affection.
Many redemptive type of quality film scenes and films require the Actor to overcome their own predictable ailments. If the Actor is not aware of their predictable habits, they may struggle to make it clear the elements that they overcome during the filming. In most projects Directors with foresight are able to work in trusting ways with the Actors and Mould the growth of the Actors scene by scene. If you are lucky enough to work with one of the few Directors capable and pliable enough to have these skills really allow your trust in their abilities to relax as you learn with them.
Emotional Preparation using Recalling of real-life experience is a love affair. It requires an interesting beyond a fleeting infatuation with Self and persists in requiring an investment to really commit to knowing yourself. The fleetingness needs to be cultivated into a stable backbone to the relationship you are building. You build into a relationship with the Emotional Preparation recall. You allow the backbone to support the newly discovered elements that range within their own functions. You allow yourself to relationship with the Emotional Preparation so its supports having a new experience. This is the same as a long love affair that is not fleeting. The baseline of the prior experience supports the new experience.
Recalling real life emotion takes patience to achieve and an inner allowance from self.
Partial success is reliving the prior experience and trying to match it to the work being done in the acting condition.
Example: John has a scene of rage over his daughter’s pregnancy. He uses the prior experience in his life of finding out about his divorce from his wife when he was only 25 years old. This memory of his wife’s poor decision which led to both of them losing their building careers in the arts as painters. It took him 10 years to start painting the way he did with his wife’s motivation.
This example within him leaves him in a bitterness towards an ill emotional condition of feelings of women being foolish. It may not be the reality of life, but it is the reality of his emotional condition.
This floods out of him almost as if it is a geyser in the national parks. He relives the emotional experience in a way to treat his daughter’s pregnancy in the scene more like it is his wife in his real life. What he fails to do is release the storyline of his own life so that the inner life of his emotional experience can build during the scene.
The teacher stops the work to make an adjustment: “Loose your own story and discover hers. Do you know what that means?” John is stunned. “I never thought of that”. The teacher continues. “When you work you need to discover her story, not the story of the life of your emotional preparation. This will make your relationship with her like father and daughter instead of what you have going on.”
This change radically changes the life of the story, and the scene actually starts to build upon the real experience of the scene rather than the remembered experience of the Emotional Preparation.
Side note: Most actors would choose to make this about their fit of rage. Instead, it could be decided to have a fit of rage in the shock of what the daughter expresses. This way what the daughter’s behavior does and says will be of greater interest to John during his scene. Constantly making yourself interested in what the other is expressing is a wise acting move.
Full success is reliving the prior experience and completely letting go of it. Then using that emotional background to launch you into the new experience. Recalling real life emotion takes bravery and courage.
It is as if logically he has forgotten the prior experience yet in actuality, he is still feeling it. This is the optimum approach to Emotional Preparation. He is stimulated by it yet not logically stuck in it. This outlook catapults him into experiencing the other person with a very strong connection. The logic is not there yet because the real time experience has not yet happened… This is ok, even desired because the actual experience of the scene will fill in the logic happenings.
He doesn’t know what is going to happen, he only knows that he is highly connected and stimulated.
The scene of course happens with an automation due to the established connection from the very beginning. There is no intellectual baggage. He is responsive and listening. Paying attention and receiving the other actor.
This is an optimal example of using this style of Emotional Preparation technique.
Recalling real life emotion will bring in an emotional weight. This weight will be sometimes like a burden, other times it may make you feel light or even light headed.
Any emotional weight that does not integrate with your interaction can carry from prior experience and can hinder your life within the scene. There is a balance of life that needs to happen. That balance in fact is that you stimulate the life prior then emerge into living fully into a new experience.
Key: any emotionality that does not translate into interaction must be let go of. Trust that future interactions may respark that emotional current. If the present conditions do not respark that emotional condition than don’t worry. The emotional preparation that you stimulated may be utilized just for the support of the scene even if it does not become that interactive. Don’t try to push your emotions usefullness as it will infect your work in an unnatural way. Sometimes people cry when they are laughing.
Too full of emotional activation to let go of your emotion –
Add, and in addition they try to push what emotions they feel to become interactive with it in the scene. It actually interupts what is actually happening.
Recording Real Life Experience
Journaling 1st person perspective about yourself or 1st person observation about another in a journal can keep your vitality going in comprehending situations. Observation of others builds empathetic skills and trains your abilities to relate versus disregarding.
4 examples that work
2 that don’t work?
Add – Recalls that don’t work that don’t activate a stimulation
Being headstrong with not getting the answers he is expecting.
Add – Recalling unspecific moments didn’t work. Activated a stimulation but not a specific pinch. – The result did not spark her emotional engines. She has a general feel of the emotion but there is nothing specific about her work.
Utilizing Recalling Real Life Emotion and Experiences as Emotional Preparations take insights into having enough control of yourself to let go of the personal storyline. If you are not mature enough to let go of wanting to tell your story, even though it is emotional you will not utilize the ingredients that are of value. Finding and utilizing that which activates within you and being able to have an alternative experience with its meaning takes hard work.
Being free enough to really feel and experience the activation and then be willing to reexperience whatever that activation leads you into is a brave endeavor. The personal experience that you activate may not feel good to reexperience. You may reexperience a worse experience than the original encounter in that emotional ballpark area. These are elements of exploration in the artistic field. It takes a courageous person to allow themselves to encounter their own nighmeres under different contexts.
The main thing is to allow the real time happening to be experience and occur with your own interactiveness. The initial emotional spark of real life experience emotional preparation can real start a fire within your emotional self and ignite a very real experience in the scene.
Emotional Preparation is not just about getting a pinch of emotion to color your acting work with. It is about having an interactive and emersive experience with that initial spark activating a greater experience.
Why else could it not be ‘working’:
If you are only having as an emotional experience as the spark of your emotion and the scene or exercise goesn’t build any further than you are likely not releaseing your full emotional potential before the scene. Full Emotional activation means that you let go of the emotional life then realize where you are within the scene.
The scene could not build up for a couple other reasons as well. This could be because your interaction with your scene or exercise partner is not encompassing enough to build moments upon moments. You can’t build moments upon moments without having a real time experience free from your Emotional Preparation.
It may be that the Emotional Preparation was not let go of enough to allow it to activate into a new experience. Realize in your acting work that the Emotional Preparations of both actors will usually add up to more than the sum of their two parts. This will only happen if the actual emotional sparks are let go of and the working off between the partners have honest eb and flow, giving and recieving.
Honesty, The Added Element
- Realizes that some Actors work with the process of honesty and that activates them.
Honesty will often make the recollection of Recalling Emotional Preparation be the ingredient that by adding it makes everything work.
“It seems to be my processor of truth in my work. If I filter what the other is saying to me through my honesty for it, I process the other better. If that makes any sense at all.”
What is an Experience
What is an Experience
“An internal event that happens within, with the connected stimulus.”
Key: (Experience is what does something to you while your focus is off of yourself.)
Experience is the life lived of something that activates you while your focus is off of yourself.
Working so hard as to ignore what is active in you when you are not focusing on yourself is common. Often times this is a lesson that takes years to overcome but it doesn’t have to. Actors can learn this lesson early on if they agree to give up their expectations of knowing ahead of time what they will experience in their scenes.
In many cases students will take about 3 years or longer to learn to relax their expectations enough to actually have the experience rather than do the experience. Doing the experience means they overcome what is actually the deepest aspects of themselves for their thoughts of what they think they should be. In scenes and classroom exercises you will never experience what it is that you are in if you do not surrender yourself over to your imaginary world to become vulnerable to it.
Experience + Vulnerability = Imaginary (and Real) submergence.
If you are not vulnerable to the connected stimulation than you will not be affected. To be an affective actor you must find things to relate to and interact with. Acting is the stimulation that activates within you. If you do not have active elements within you than you are not having an acting experience. Emotional Preparation ensures that you are having an active experience.
Your goal as an Actor is to become vulnerably interactive with the circumstances. Judging the imaginary reality of the circumstance you are in is not living within it. Being vulnerable to the impulsive realities that you are sensing is becoming vulnerable to the circumstances. This does not require intellect.
You do not need to treat circumstances like they are Gods unless a spiritual experience is what is moving inside of you. Whatever the activation is, is the honesty of the movement within. Catching the movement within by interacting with what is external will ensure that a natural expression does occur.
Depth is not a manipulation. Depth is an element that often blocks the actor from having experience when they start to question the vulnerability of feelings that come with having an experience. What was easy to interact with without the Emotional Preparation becomes more intricate to relate to with the Emotional Preparation.
Perhaps the Actor in life is not free enough to live out their emotional depth or they have been trained in life to logically safeguard against complete and utter expressions. This is common. It is rare to find even artists that will tell you exactly what they feel without regards to consequence.
Vulnerability is being open to the consequence of your emotional expression. Having the confidence to withhold yourself to the level of truthful expression regardless of what consequences it will bring is the desire.
Expressing based on what you are actually having stimulated is the desired state of acting. This will excite audiences to cheer internally and identify with the actors on stage. The plight of outward expression of what is internal is the goal of acting. You want as an actor to Actively express your inward stimulations.
Imaginary (Real) submergence is the art of giving in to what is internal. But, there is no trade off to what is internal to not paying attention to the outside influences. The outside stimulations will ping or pulsate you with what is internal. It should feel as though you are both having your own electrical currency going through you and you are also being pinged by someone elses. This confusion is the working environment of the actor. The test is the openness of that confusion regardless of what it might impulse.
Catching the impulse is not going outside of the experience. Catching the impulse is actually feeling the affect of the stimulation. Actors need to become expert experiencers.
Catching the impulse is not going out of the experience it is going into the experience. It is the honest with no filter expression of what the impulse creates in you. The work during ‘experience’ is the work of a game of hot potatoe but with many different layers being activated.
Many Actors hear the words imaginary circumstances and take the face value approach that they must be imaginary. Modern day acting is not imagining effects happening to you. It is experiencing affects happening to you. This is a necessary tool to actors to feel and experience how they are being affected by the other person.
In many regards Imaginary circumstances are not imaginary in modern day acting. The only thing that is imaginary is the circumstances. The stimulants are real circumstances happening in real time.
Audiences desire real time circumstances so the experience can be more encapsolating and encompassing. There is no time for an actor to redo or take awy from the adding of experiencing layers of the scene. One layer adds to other layers.
The real actions, the real give and take and the real vulnerability. To the Actors experience there is no imagination needed in imaginary circumstances, the raw impulses are actually real.
If you are going to experience than you are going past the degree of imagination and into the realms of real behavihour. Both produced and generated real behavihor.
The evidence of real behavihor takes experience beyond what would be seen normally in life. This does not make the situation imaginary. What makes an acting situation imaginary is the fact that it is being done intentionally for acting. But it can’t look that way or be that way. Often thse imaginary circumstances of actors scenes would be rare to be found in life.
Actors need to gain the experience by having the surprise, by being in a vulnerable situation, by being stimulated without self focus. It is not an unexpected thing that Actors should face when acting. The Actor will not have an experience without having a sense of vulnerability or uncertainty.
Neophyte Actors or actors whom perform scenes will try to get both their sense of vulnerabilty and any uncertainty out of their own work. The result will be stagnicity and an unbelievable veneer that will be seen through by audiences. Putting expectancy into your work as an Actor will not add color or varience but rather restrict the life experience of what is going on. You might hit the points that you are trying to make but there will be this deadened silence that will come with your expressions that are unnatural and anticipated by audiences.
Stagnicity is not the art of an Actor in a life experience lived. Any expectancy planned needs to be crafted in order to work. You must have a freedom with it that doesn’t require silence to express. There are very advanced exercises in places in this book that cover how to include expectancies.
The training is the grounds that can teach you to start to experience. Becomming a professional experiencer is the goal of acting work.
Example: Randy wants to proove that he has been learning the work over the past year in classes. He has learned some but tonight is a scene showcase and there are some industry people watching. He goes up to John and says a whole bunch of things that he is trying to plan out with John. John knows how to handle this situation. John recognizes that Randy is zeolot. Only someone who wants to look imature to these industry people would try to last minute include a list of things to perform without adding the emotional work and integrating it into rehearsals.
John ignores the advice but tells Randy he’s got it, no problem. Randy comes in trying to act in the scene (which is the opposite of what you want to do) and John takes it personally as if it is an honest personal assault within his acting circumstances.
There is no time for Randy to stop the scene as he often does annoyingly in rehearsals so the raw reality of the two opposing each other is exactly real. The fraught that John was feeling about doing the scene a certain way is coming out within the imaginary circumstances. John’s adjustment of Randys poor advice causes an emotional outpour of panic that looks like it was intended to the audience.
The scene works because the spontaneity of it. After the scene ends Randy is confused. He hears the applause from the audience and is even more bewildered. John knows what he did and that he wasn’t going to make his own work look bad because of Randy’s panic.
John had already knew that through rehearsals that he would take personally what Randy was doing. This worked in rehearsals and there were personal things that were found in this approach. John was not going to panic and change what he knew was an internal stimulation that worked for him for this scene.
Note: Understand that John committed to having the Experience while Randy was trying to abandon the scene for planned actions. This is different than adding a single ingredient that works with what you have already prepared.
- Scared of what they don’t know.
Being scared of what you don’t know and not wanting to look out of place in your acting is a normal concern. Just before doing your acting work there is not any immediate thing, you can do or plan. Hard work of improvisational exercises can achieve preparation and the ability to stay relaxed while working. You train yourself to give into the experience.
Last minute adjustments that are not emotionally constructed can be great. If John had had followed Randy’s advice the inner life of the scene would have been flatlined. Instead of having their rich personal conflict they would have done what most other Actors train to do, which is perform. Instead having a real experience although it could have been better crafted still worked.
Example: Julia is a coconscious student. She has been rehearsing a scene with Sarah. There have been some things working and progress has been made. Julia knows that sometimes she is not having the experience of the scene fully. She learns a secret from another student about how to liven it.
Julia adds a secret about Sarah that Sarah doesn’t know about. This is interesting because Julia has not done this before. They do the scene still rehearsing all that was intact before and discover a new element with the other work they have already done. This is an incredible experience. Trust issues come up between Sarah and Julia as an added subtext to the scene. Trust issues had never been there before but are present now.
Julia knew one thing, that the more she was opened to experiencing the richer she would be in her acting. She trusted experience and opening up to experiencing over her intellectual ideas about the scene.
If you want to be an actor than you want to appetite having experiences. Culture is the Craft of Acting. (Culturing is the craft of acting). Culturing is the Crafting that unveals Self in acting. It is all done by Appetite. You learn to Appetite experience and surrender into its intrigue. This is your job and pay check as an Actor.
Appetite your intrigue into another person by experiencing them with a slightly different hint of emotional life. This is where Emotional Preparation becomes a powerful tool.
You truly can develop your appetite to experience different shades of living conditions with the same material. The Emotional Preparation processes are wide and vast in scopes that can assist you in achieving experiences.
If you don’t like experience than don’t use Emotional Preparation.
Learn to like experience and layer experiences in your acting by using Emotional Preparation to submerge yourself into the Experience. The experience is the actual living inside of circumstances that really affect you. Choosing and selecting experiences that really affect you is key to your growth as an Actor.
Being and Survival States in Acting
Being and Survival States
Before We Begin: Being Balanced
An Artist or Actor cannot expect themselves to be in an emotional whirlwind and then do something called Emotional Preparation and magically be without their life’s problems. Many times, Emotional Preparation will work in ways that will take us away from our own life predicaments but relying on that to occur is not the system we work within.
The better stable we are as people and the more we are able to have context about who we are and what we are going through the more we will be able to encounter the reality and strides that Emotional Preparation can offer to us as Artists and Actors.
Deep Emersion into Emotionality can persist in such helpful ways and encounter diverse help in our preparations for Acting. The better we are able to find context in our own lives the more faculty we will gift ourselves in not looking to use Emotional Preparation as a “Magic Bullet” even though often times is one.
Dealing with ourselves and being responsible for ourselves as people as well as working with what availability that we have without judgement of that all compound to making using Emotional Preparation nearly the most powerful acting tool in existence.
Whatever we do not rely on abusively will continue to serve us and nothing could be truer with that concept than Emotional Preparation.
Recalling real life emotion can often bring out survival qualities and reactivate scenarios. This is part of the laws of attraction principles.
The Being and Survival States
If you are not in a balanced state of being and a free state of being defined in a way that your emotions are free to be abled their expression and your being is free to its own movement than you are likely not in a state of your own chosen existence. When the conditions of yourself is not in a being state of your own choosing you are likely in a state of survival or oppression. If you look at the reality of the circumstances of which exist in the surroundings and the scene work that you do as an Actor, you can be able to learn to what degree of survival or oppression you are in and from the inside out understand your part from being within it. A lot of things about your state of being in the present moment of the script are within the life conditions of the script’s surroundings.
The Being state of happiness could not exist without the freedom of space that gives room to the freedom of ability that happiness can expand and retract at its own will of expression. This is the truth with all emotion. Your Emotional Preparation is the ability for the Actor to enter internally into a space that exists within themselves and then allow the expansion or retraction of that space to be controlled by the experience they are having with the other person in the scene or exercise. The understanding of this is crucial. There are two different things active within this paragraph. The ability of the actor to let go of their emotion entering into their emotional space of desire and then not having any control over the emotion aspect. Secondly is the ability of the Actor to allow the experience with the other to dilate at the others control over how much is expressed. The more able the Actor with the emotional experience is to allow the other actor and experience to dictate the expressed amount of emotion the more incredibly accurate the experience will become.
SIDE NOTE: The reason why so many times a ‘heady’ Actor ruins their own chances of their work gaining momentum is because they limit what they explore in their rehearsals with their Emotional Preparations and limit where they allow the scene practice to take them.
Additionally, the being state of your emotion needs permission to change into other states of emotion. One common blockage within actors is they are able to achieve a wide range of one emotion but when the emotion changes to another emotional aspect or into another emotional state of being they are unable to allow the natural change over in their state of being. This is interesting to understand as it can foresight the work that the Actor must do to allow the changeover of emotional abilities within themselves.
The said high wire in Acting is the high wire of this ability to allow your emotion states of being to change into their desired expressions even though the meaning of the scene may remain the same with the Actor. This is the edge of the blade of the skate and the success of the balance of an Actor on a tightwire named an exercise or a scene. The ability for their emotions to be free is the ultimate ability that the actor can acquire by the affect that the other actor has on them.
Recalling real life emotion as part of Emotional Preparation is a normal process for the Actor.
A controlling Actor will stop the change of their emotional life during a scene when they do not believe it should be going out of range of that scene’s existence. The mere fact that the scene has gone in the direction that is has is evidence that it could go there.
The point of rehearsals is to gain the knowledge from where the scenes may naturally go within the context of the work given. Adjusting the Emotional Preparations affect how the scene turns out when it is done. Although it is true for the scene’s current understanding the work the actor to allow the exploration of the material is the allowance, they have to let the emotional aspects of self-express themselves caused often by the other person and circumstances that they are in. Inappropriate emotion expressed may become appropriate emotion expressed as long as the Actor stays true to the course of their meaning. This is an exciting ride for an audience member as well as it will be a spontaneous ride emotionally as the Actor holds onto the meaning of the scene or the meaning that they are feeling within themselves of the exercise. This is the edge to the balance to the blade that skates on the ice as the blade is the relation to the other Actor and the circumstance is attached to that as well providing further support.
Now that we understand that the emotion is the crisp effect of the edge of the blade or the balance of the high wire, we can further trust our partners in Acting to take us on the ride knowing that our allowance of our emotional expression is intact without interference and all of these factors are woven together to build that which is created.
Truthful accuracy may not allow the scene to pontificate, but it will be an accurate reflection of truth and with the proper supporting creative team easily become directable. Many in the industry say that they want this honesty but the difficulties of it and because the desire to be good within the production without proper creative teams in place it is nearly impossible. We have all been confused at times about these aspects and why the scene works or doesn’t. The truthful expression is not something that may fit into a production that is pushing emotional life and performing what they believe is inside themselves in a unison attempt to overcome each other’s abilities and one up each other. The gifting of your talent to another person or over into an experience to allow the experience to time the expression that you know is inside of you is a difficult thing not to want to pontificate. The instant that you perform the emotional life inside of you out of sync of the timing of the scene the lesser the quality of the production becomes. It is easier to simply surrender the allowance of expression over to the experience and your partner than it is to try to factor in all the unexpected occurrences that will persist within anyone’s work. Surrending into the recalling real life emotion will help you further.
The allowance of expression is the connection to your instinctual ability which relaxes or tenses when you feel safe or feel that you are in a state of survival. It is imperative that your ability of physical safety is intact unless the experience calls for scripted and stunted materials. The instincts’ ability to surrender control over to another or over to an experience is of paramount value to the ability to stay present within the scene or exercise.
Survival is a coping mechanism of having to flight which is not the optimal state of presence that you want to be in when you are Acting because it affects your certainty of both your Emotional Preparation of response with others in the scene. The actor who knows how to settle their survival state of being is a step ahead because they are truthfully more present without the distraction of survival that is not written within the project. A B-listed Horror film may require you to be in a state of survival of which you can achieve that ability emotionally by Emotional Preparation technique that would regulate the experiences beginnings so that emotional continuity could give the film a chance at becoming a B+ listed film.
Survival expressions if honest to the part are an appropriate thing but would require the stimulation within the exercise’s expression and not the isolated expression of self that is not asked for. Most present-day actors don’t accurately capable the hardships of survival states because of the changes in society and the unsuccessful achievement of media selection for production filming.
The survival element in human beings in general is the struggle that many Actor’s work through while learning the processes and learning how to best experience the acting circumstances. The Act of variety of rehearsal abilities using the dynamics of the script rather than the script itself is one way that naturally loosens the Actors survival elements loose from the part that they are participating in. The participation within Acting is an experience onto itself and does require the baggage of survival elements that the human being doing the part has not already dealt with inside of themselves. In almost all cases in every scene you could do the element of survival or scarcity that is not written within the script is not needed to enter the work.
During exercises in initially learning acting, one must allow the survival distractions to be worked out by the actor themselves rather than through a disciplinary process. It is important that the survival element of the actor that that persist within the exercises as they do with all of us be as kindly worked through as possible.
Survival elements include the inability to receive love due to old experience or the inability to perceive an abundance after habitualizing lack. The work continues in these cases within the earlier steps of the work giving the Actor a chance to address them themselves which is why journaling is so vital outside of the process approach of the exercises. The same is the process later on within the work involving scenes. The Actors new habitual approach of writing is the general practice which allows them to learn the elements that are still not fluid within them. Working with the elements of the script that encounter the Actor having to approach parts of themselves that do not feel right or tend to surprise them in ways that are personal rather than experiential within the rehearsal of dynamics of the scene.
The real difficulty of survival elements of scripts is the recourse of expression within the elemental structure of survival. This is an incredibly intense Emotional Preparation. The desired expression that audiences wish for is the expression of things that they cannot express for themselves. The finding of an expression within a state of survival is a task of achievement that can be existing in an Actor who takes their time to find the expression despite their limited conditional state of being.
Expression may be a higher state of existence which is the aim of human connection. Human connection takes away loneliness and discomfort of isolation which are key reasons why audiences form around artists and actors. The sense of connection is in itself a form of expression and a participation, which also forms a circumstantial encounter if all are allowing themselves to become involved in the shared expression or reactions to what they are witnessing together.
The reflection of self can often cause someone to recoil so they can better evaluate themselves and their relationship with life and their current circumstances. Life is an encompassing event which has many turns and meanings. The recoiling of self can be an active time of readjustment and not a solemn time of unstimulating.
When someone Is forced to feel a way about themselves, they are often the ones blamed for not making the adjustment, but the circumstantial pressures of life may be causing the pressure to be more intense than it would be without that added pressure. Often in scenes pressures from one Actor to another both who are aware of their circumstances they are unable to change will force another into a cornered existence of self without the writer addressing that forced encounter. The
If the writer is writing a piece of work on the lower states of survival it is important for the actor to be able to recognize their ability to reconcile it both in the script work and also within their internal work for the scene. If the script calls for reconciliation than the Actor better be able to achieve the reconciliation of self by ways of self-exploration or else there is no discovery to be had within the work. The last thing an aspiring truthful actor wants to achieve is a performance of doing a reconciliation instead of living the experience of the actual event in real time.
To the degree of Your personal allowance of self needs to be present with you within your work is as fully as possible. The ability of your entire self to enter the work is the goal of being truthful in it. The self-improvement abilities of the work are the self-improvement of participating in the work.
In the weirdest but most truthful of cases the part of yourself that is the norm that you bring to classes and to Acting is the part of yourself, which is your discovered self, not the part that is your daily everyday personality. Often times there are differences between the two because the daily ability of self is distained by daily restrictions to self of society or the surroundings of which you do not control of which you live. So, you do what is the most incredible of options which is bring into the theater or classroom your artistic space of being within yourself which you will learn is very connected to your authentic self. Your daily life self is too busy in dealing with survival issues and states of being that are too restricted for free expression.
When the being state is affected, you need to notice it and recognize that you do not have your expression faculties available to you. When you enter into the classroom to further learn about your expansion and human growth as a person you will clear away any concern for survival and focus on the stimulation that build a greater experience of self and other. For compassionate people who always want to give you need to allow your compassions to expand in your classroom work and not to overload your expansion of your compassion you learned in class to inundate your senses outside in your life. This is one of the largest adjustments that Actors must make between life and work.
For an artistically inclined Actor you are so used to throwing away your survival state of being that it can be hard to achieve care for yourself in ways of giving to yourself the normal conditions of life that most people have. The other reality for Actors once they have made it in the industry some is that their lifestyles can be out of control to the proportion of what they actually need because they have gone for such a long time having to adjust their survival state of being so that it stays out of their learning environment. The balance that is possible is to adjust to an understanding of needs versus wants and achieve the reality of the emotional balance within yourself. But if the money is just not there and you need to focus on the learning of your craft of acting then you must unfortunately achieve that reality without the things that you really need to survive with and be certain that the internal growth that you achieve is real and collecting in ways that will help your achievement within the industry at some point.
The day to day of life is a burden that by giving up the survival of themselves many actors are then able to achieve the reality of being and learning. The poor artist who gains nourishment from their work more than the food that they intake is not a person who is being sacrificial of self but one who knows the value of internal growth and is hopeful so much to be able to help the internal growth of others to the point of having a value in society. The real value of what a ‘starving artist/actor’ goes through needs to stop being missed by the productions that it Is part of. The connection to each other is the reason for the selflessness of which when the productions do not include a focus that encapsulates the abilities of the talent.
The state of being must have freedom in order for the expression of self to happen. Recalling real life emotion will help you find your own expression.
Classroom First Read
- Another example of 1st reading
- Example of accesing -teacher – Now access whatever Emotional Preparation technique gives you a real stimulus. Allow yourself to feel the activation of it for a moment. Wait for the pinch of the impulse to start your outward journey with that emotional life. Then focus on your partner and say your first thought of dialogue.
- Describe how the each of the two students access this.
- First major emotional chord is its essence. – Whatever emotion>
- First moment of the scene is – whatever emotion.
Assisted Emotional Preparation Technique
Technique 6: Assisted Emotional Preparation
Finding the Right Person or Group
Being willing to trust another
Letting go of your own Ego and Opinions to allow another to make adjustments to you.
Lastly, Trust your own view point gets mixed with the others suggestions
It benefits the Actor if they learn the discipline and pleasures of Assisted Emotional Preparation. Often times the Actor can emerge in deeper and more real places with the help of another to their acting work.
Even with your focus on what the other is instructing you develop a trust that your own uniqueness mixes with the assistance you receive as the Actor. Just because you are receiving help does not mean that you lose your own genuinely.
It takes an adjustment for Actors to learn how to receive assisted Emotional Preparation. It is beneficial to as early as possible learn to receive assisted emotional preparation.
It is not a dirty or taboo thing to receive help as an Actor. Many times, Actors burden themselves feeling that they need to be the one that needs to come up with all the solutions and moments in their acting. In fact, listening to an outside point of view can really help bring to life what is internally going on inside the Actor.
Letting yourself listen to someone who is knowledgeable and capable of listening will enhance your work not destroy it. You will adapt what the other suggests as well as input your own take during the real time event of the scene’s happenings.
For Specific Scenes
You may need to find additional actions or behaviors in your scenes. You may need or require an additional undercurrent emotionally in your scene. Either direction that your Emotional Preparation Coach or your Director is giving you is viable and realistic.
Allow yourself to receive the suggestions that you can realize if and when the fancy strikes you. Typically, there would be directions on how to respond in a certain part of a room upon entering during older style filming’s of the 1960s. Crafting entrances or use of space was a regular film Directors adjustment to the Actor.
Recalling Real Life Emotion and Emotional Preparation Adjustments
If you are lucky enough to have an Emotional Preparation Continuity Coach on set with you or just a sensible Director who is keen to work with your Emotional Preparation allow them to influence you.
Emotional Adjustments will be connecting internally with you somehow. Allow the suggestion from whomever is assisting you to strike your inner chords and not just to act as an instruction to follow in tandem with the events of the scene. Finalize by choosing to allow your internal feelings to be affected.
There might be an appropriate time within the scene to take a personal moment to allow yourself to be affected by a happening in the scene. If it works out for you to figure that out with yourself or the help of your assistant follow that instinct.
You may be ready to make love to your newlywed partner and decide on a moment in the script of nervousness and disbelief just before addressing them. There may be a point or spot in the scene where you shy away into the corner feeling the genuine gratitude of your partners affection before gathering the courage to continue your time with them.
This integration into the scene is a natural progression of including Emotional Preparation into your scene. You Emotionally Prepare before the scene but with the creative help of your Assistant or the Film Director assisting your Emotional Preparation you can intertwine the real genuinely by allowing time during your scene which often will turn itself over into the real event occurring because you are not rushing, and you have allowed the planning or not rushing to occur.
The real way that assisted Emotional Preparation works is by planning time for the real event to occur if it wills itself to do so in that moment. If it doesn’t there is no harm in moving through that moment and receiving whatever does take place instead. This is a stark contrast to planning and executing moments in acting with your Director.
If the moments fill themselves in as priorly discussed than they do in the real time event of the scene. If the moments get found in different ways than priorly discussed it will be because it is because it was a more genuine occurance.
Coaching your Emotional Preparation
There are times where a coach knows that a film topic of retribution for instance is a piece of film role. The Coach or Director may assist in the emotional preparation of that topic for the acting role. There are all sorts of preparations that they may work with the Actor in order to achieve the undercurrent of retribution for the film.
Listening to the one assisting you as an equal is key. Also suggest your suggestions after they have suggested theirs. The more equal and even the exchange and communication the more both of your suggestions can be thoroughly sought after. The more you are capable and able to explore the topic the better prepared you will be for the role.
It is key not only to rely on the Coach or Director but to also experiment yourself with finding elements that intertwine with the overall topic. You may find that retribution for feeding the hungry children of Africa has a deeper meaning to you than trying to punish someone for their own evilness. If so, work together by discussing and disclosing your discovery so you can both brainstorm how to intertwine that reality of yours into the script.
Working with each other and intertwining that retribution that no hungry children in Africa exists as a motivation may catapult your acting scenes forward with motivation rather than an on the noise anger which most Actors would attempt to achieve.
Being on the nose is being stereotypical rather than being honest and truthful to how and who you are and who and what motivates you. A boxer may be motivated by their more genuine desires rather than just to win. The more you can find that is your own undercurrent the more unique your acting role will become and the more personal your acting will be.
If you are working with someone assisting, you to be on the nose and impersonally upset without finding your true motivation for the cause at hand reconsider if you want to work with this person. If you reconsider if you want to work with this person, you best be ready to completely walk away from the project or figure out a way to include their suggestions while adding your more meaningful depth to their suggestions and film role.
There is almost always a way forward to work with others if you are committed enough to commit to the other suggestions and your own truthful discoveries during your Emotional Preparation towards a film part.
Do a section
- On Set:
4 that do
2 that don’t work – –
- Forcing an emotion rather than a preparation – what to do.
- Forcing an action without emotionality – what to do.
Finding and Releasing Meaning
Finding and Releasing Meaning (Emotional Preparation)
As we simplify our understanding of what Emotional Preparation is we start to realize that we are digging around inside ourselves with and about our own meanings. What matters to ourselves is actually what makes our work ‘tick’ or have a heartbeat. Our actual beliefs and what resonates with ourselves.
Now that we are realizing that we are not interested in representing our own meaning with planned gestures or trying to portraited a false impression we are able to start to develop our own point of view as to what works for us.
In Essence, Emotional Preparation although many things, in a simple form is the ability to find and release meaning. We are starting to catalogue and identify how to find meaning within ourselves.
The Next Step
What seems to be counter intuitive to your training right now will be a godsent mastery of sorts later on. Before we marry the concepts and hard work of our efforts, we need to have a reality check as far as what we are doing.
If we have a belief that we have dug inside of ourselves and with hard work found things of meaning within ourselves and now we have the right to represent ourselves, we are both right and wrong.
It is true. By this point in the book, we are discovering that we can work hard look inside ourselves and really find things that have meaning to us. But there is a rule that we must understand and go by that will make a difference as to if our applied meaning will be able to become active in our work.
Rule: Whatever we love the most and means the most to us we must be willing to let go of it to be able to realize it Artistically.
This isn’t a bad rule of life either. By putting this rule into your work as an Actor allows us to both take things deadly seriously as well as having perspective to realize that not all goes our way based on how badly things mean something to us.
There will be many of scripts where the protagonist will never attain what means the most to themselves. As Actors it is wise to understand that the more thorough, we train ourselves in the realities of life the more realistic our work in acting will become.
Question: Why Does Emotional Preparation give us so much yet the artistic medium seem to rob us of our efforts.
Answer: In time you will learn craft well enough that you will be able to have your cake and icing and eat it to (and you will be able to also learn to decorate it with your own design). The more realistic you are capable of training yourself in acting the more of a reality you will have in your art form.
Gaining familiarity with yourself and finding the gut level meaning of yourself to risk it by letting go completely of it is the task of the Actor. You will never know if your meaning is real to you if you can’t let it go and see if it returns dividends to you. That is the test of artistic faith.
Do you have the artistic faith to let go what means something to you and see if it will return with an increased intensity? If you have that courage you will start to move on to learn about crafting your Emotional Preparation. If you have that courage than you will move on to find more discoveries in your work.
Recalling real life emotion will help you discover the craft of your acting.
We must also remember as Artists that we are the canvas of life that audiences witness. Not many masterpieces are painted only with one color. We must train ourselves in ways that reality of not getting what we always want or have done hard work to earn is part of the reality of life of the cinema.
In fact, the more we are capable of letting go of the risk of not gaining what we have earned the more we will interact with the reality that we have worked so hard for. Your emotional Preparation it will take time for you to learn that it doesn’t leave you if it is really in you. So often just as you are losing your reality of the hard work of your Emotional Preparation it becomes active in you in a way that is unexpectant.
If we hold onto the Emotional Preparation without interacting with others and risk it not being fullfilled we may lose the reality and tenderness of what it means to us. It is vital to allow yourselves to be put at risk of loosing what we earn as Actors including the deep inner life of our Emotional Preparations.
We must understand that our deep Emotional Preparations will find us again after or during interaction with others.
(Key:)As we relate to those in exercises and scenes with us we must give the other as much freedom as possible to break our hearts and interact with our precious emotional hard work of our Emotional Preparation. In exercises we cannot dictate to others how we are to be perceived by the other person. Just as in scenes we cannot dictate to the audience our own perceptions, we can only live within the reality of our perceptions.
What if we are not ready to work with that Emotional Meaning?
We need to be patient with ourselves and realize that we are not willing to work with all aspects of our lives until we are ready. It is ok not to choose to work with elements of your emotions.
Fact: Any meaning or Emotional Preparation that you are not willing to let go of the result of you are not ready yet to work with.
This small fact is a fine process for both a new Actor and an older one to go through and understand about what they are ready to work with of themselves artistically and what they are not ready yet to work with artistically.
Being mature enough to comprehend that there is no shame in dealing with emotional assets that you are not yet ready to work with artistically is both important and a real circumstance that most Artists will face in their career.
Example: Harry’s wife just died. She used to draw diagrams that he would than use as templates for sculpting. Eight years earlier when his daughter died as a still born he and his wife drew up diagrams for their own headstones that they agreed they would either sculpt themselves or have friends who also sculpt help them to complete.
Harry starts to punish himself by drinking a lot more than normal while he is staring at the sculpture that he agreed to complete for his wife’s casket and her tombstone. A good friend comes over and see’s Harry who has been drinking with little sleep for two full days as the accident was three days ago.
Alan looks at Harry and offers help to him by offering to stay over a few nights. Alan says you can keep drinking if you want but I know that when the timing is right you are going to do an incredible job on that tombstone. You may just need another week or two or to put it up after the funeral would be ok too!”
Harry tears up immediately. He starts to sob in an empty house on a back covered porch with only himself and his friend. After a long-time passing Harry mutters out “There’s no rush is there?!”.
Alan stares straight ahead and says, “You can’t rush meaning”.
This sensitive occurrence illustrates that Harry is willing to be mature enough even given the circumstances to be patient enough to wait until he is capable of doing the work that is needed to represent the meaning of his wife. This is so similar to the depth of work that Actors go through a on sometimes daily basis. The Emotional Preparation and the reality of it can hiccup them and they have to be ready to release themselves from the inner emotional turmoil in order to achieve their artistic vision.
In Harry’s case, he just needed some time to grieve before being able to do the masterpiece and memory of his wife’s tombstone. He was able to get it done in about three weeks and needed a full week just living with his friend Alan and going through things in his house before he could face releasing the emotion of realizing his wife’s death.
Our Job as Actors working with Emotional Preparation is to find the intimate emotional dilemma’s but to allow it to realize itself enough and mature enough so that we are capable of releasing it into our work and artistic fields.
It does the Actor no good to force themselves to work with emotions that they are not yet ready to let go of.
//Move? -Question: What happens when you have used all of your own personal experiences and have cried out all your tears?
Answer: If you cannot access your Emotional Preparation using your past life history than you rely on other techniques to activate your Emotional Preparation. Emotional Preparation is for the undercurrent of the scene and may come out in the scene if your interaction warrants it. You can always creatively stimulate yourself into an upset when you gain comforitability in using different Emotional Preparation techniques to stimulate the under emotional life of yourself.
Adding Empathy in Acting
How to Have Empathy:
When you craft your Emotional Preparation, you need to remember to craft Empathy into it. This is not always the case but is usually the case. When you add the element of empathy you will be crafting yourself to care more about what the other is saying when they speak to you in scenes.
How to increase your Empathy with your own will power and concentration rather than forcing your own actions and demeanors. Recalling real life emotions to gain empathy for your acting is a great option.
Human Beings as well as Actors have always wondered how to increase your empathy for making their acting time on camera or on stage more realistic. Actors want to realize ‘Self Betterment’ practices to realize in real time the scenes that they are alive within when they ‘Act’.
Perception of Self Judgement is the deception of the Actor who thinks they can fool the audience into thinking that they can have an experience when in fact they really need to have an experience. Having an experience means you do not have full control of the external circumstances and internal circumstances at the same moment.
The reality of Empatheticness is actually what makes you sympathetic to another person’s actions, words and demeanors. Empatheticness is realizing your lack of total control over a situation. This is why Actors often feud with each other more than regular people or even extras on film sets who don’t care if they have credits or not because they just want experiences.
“The joy of living is the joy of experiencing”
author Quote: Simon Blake Quote –
Author reference only – delete before editing: (This may also be referencing famous cook book the joy of cooking is more of an experience than eating. )
Empathy is an openness and willingness to have motion with another which leads to having and emotional experience over a selfish visceral experience. Visceral vs. Visceral experience is the difference between the awareness of actually being in the experience rather than having to try to contribute towards the peaceful actions of participating in Acting.
An Actors real job is to realize where they are without knowing the outcome of what will happen when they arrive where they do to begin their scenes. To accomplish this the Actor must understand that you achieve this when you forget about what you are there to do in a scene and instead live not knowing the outcome of the scene.
Without participating in the experience of life being lived you will achieve nothing. You must as an Actor achieve the reality of breathing life into the circumstances by forgetting your desired outcome for at least long enough to get caught up in the moment of the time passing. This way you may not be the star you desire to be, but you will never be considered and Old Rag or an Old Tire in your acting circles.
Actors are very creative nicknames who are capable of harming each other’s feelings rather easily without much thought of intention. You can achieve this level of at least ‘keeping up with the jones’s’ if you at least allow yourself to get caught up with that which dizzies’ you within your imaginary circumstances.
The imaginary circumstances will become ‘Real’ to you when you achieve a random thought process which you have to submerge yourself into in order to sort out your experience by feel rather than thought. Within the scenes that you do you will find a inner life of feeling or you will try to think yourself out of the circumstance. Try instead the first option of feeling your way through the scene instead of trying to make up intellectual gestures.
Recalling real life emotion will help you build inner life and access parts of yourself for acting.
All Art is life lived out.
Any participation you do within a scene by any means that you are living life out and experiencing carelessly as well as carefully means you are attempting to balance your emotional life with your experience. This type of balance will always produce fruitfulness and achieve results that you do not sort out before you live out.
The Affection in a self-reflective kind of way will turn into your concentration and ability to focus on the other more than yourself. Many Actors who are new to acting will try to get rid of their concept by trying to rid themselves of ego or their own Affection. I myself have taken mirrors away from my life accept when going on dates or to work to build up what I thought was a less Self Attention Ego.
I found out by experience that the Affection of attention to one’s own detail is actually useful to simply put your attention on the other instead of yourself but of course in a non-blaming type of way. The important aspect is not to place attention on an external pontification demanding that others do or say as you do.
So, remember not to blame your scene partners if they struggle with receiving so much of your attention and don’t know what to do. This is a natural thing that often will cause Actors to laugh or giggle when others come in contact with them in close proximity. This is not an immaturity but an actual talent to sensitive artists who are committed to learning the craft of Acting.
Recalling Real Life Emotion
Recalling Real Life Emotion is an incredible thing to work with as a Creative. Learning to work with recalling real life emotion can be a thrilling opportunity for artists and Actors.
Learning the skills to recall real life emotion will help you maintain great clarity and health in life.
Internal Motion and E-Motion
Acting Classroom Section
- Example of student not being able to utilize their real-life experience. It just wouldn’t transfer over into the scene. I couldn’t carry over the upset from my real life towards my sister over towards Josh in the scene.
- Example of not being able to utilize the emotional preparation because the anger was so upsetting – they start punching walls backstage as soon as they activate their emotion.
— – Teacher has to go backstage and calm actor down.
I know you want to do this scene really badly, but we will just work together and find another way to access it.
“I will repair the walls. I have never lost it like this accept one time when I was a child about 8 years old when and another time when I was trapped intentionally in a car by someone who I thought was helping me.” – Make that more personal.
- Example of how intense the person starts looking at me. The one student looks like they are going to murder the other student in shear fury of a glare through their eyes. Janet doesn’t know how to respond to Ralph.
- ? Student gains the emotional preparation yet stays in the experience of the past. Never goes forward in the scene. Teacher stops to adjust the work Then the work continues.
Teacher – You had to be reminded of letting go of your Emotional Preparation. Now don’t worry that that happened. Any worthwhile Director which there are several in the industry will be patient with Actors when this happens. Most of these great Directors would rather work with Actors who work hard to work out of their Emotional Preparation than work with lazy Actors that never find anything internal for their scenes.
I am telling you this, so you don’t go home from class feeling that you failed because you are human and needed help to drop your Emotional Preparation. But at the same time, do your best to learn from it.
Student – Thanks for saying that. I would have gone home and blamed myself. But you are right this is about learning, and learning happens on set just as it does in the classroom.
Teacher – That’s right. Sally, you did good just keep working away at receiving the other person as fully as possible in whatever reality that exists in you at the time. You are really starting to get this work.
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.
Copyright 2019, Simon Blake
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