What Emotional Preparation is Not

Emotional Preparation is Not

What Emotional Preparation is Not

Emotional Preparation is Not, is just as important than learning what it is. Being successful using a technique is finding your specific way of finding the technique. Not falling into a copying of how another uses the techniques but finding your own is the success you’re aiming for.

If you are using Emotional Preparation and expecting that it will make you the primary focus of the film or the stage, you may be right or you may be wrong.

Knowing what Emotional Preparation is NOT will help you to avoid mistakes. Learn Trial-and-error techniques that are tried-and-true to unlock putting your emotions into your acting.

It is important and vital to not expect that because you may be the most emotional person in a scene that you will get the most attention or you may be the most emotional person and get the least amount of attention at the time of filming. Often times after the filming is released the audience notices things that the production does not including the emotionality of the Actors in a more applicable way to the genre.

Some Key Quotes to this Article:
“Just because you have learned a technique you do not have the right to ignore the others behavior. “
” Many people will quit before they understand this key (Emotional Preparation) factor in the work.”

Emotional Preparation is an integration with the acting circumstances not necessarily a highlighted focus of your acting. Having emotional connection behind your work justifies your presence in it. This underpinning technique supports the weight and levity of the work during acting and often gifts your reality of circumstance in your work.

This work will start you along the path to learning your own technique understanding What Emotional Preparation is Not.

What is Emotional Preparation

Goals of Emotional Preparation are Not: (NOT)

Forcing             Pushing
Convincing              Ignoring Impulse what is happening for Belief
Mentally Believing      Planning the scene out in your mind. 
Forcing Panic           Keeping up an Emotional state throughout the scene
Manipulation            Meditation
Excuse not to Listen    Excuse not to be in the Imaginary Circumstances
Self Indulgence         

Please, understand Emotional Preparation is not the excuse to learn to ignore others work in your acting. The seamlessness inclusion of Emotional Preparation must be its goals with all else that informs you.

Just because you have learned a technique you do not have the right to ignore the others behavior. This is a good example of What Emotional Preparation is Not.

Including the Emotional Preparation means that you are responsive to it if it becomes an interactive component. If it does not become interactive component that the emotion from Emotional Preparation will sit alive within you supporting the life of the scene until the time it becomes activated.

Some teach Emotional Preparation as being incorrect unless it is Self-Indulgent. This is not the advice of this book. The more you are capable of being awake and sensitive to your surroundings the more your Emotional Preparation can interact with your outside world.

Without an understanding of What Emotional Preparation is not, Self-Indulgent Actors rely on emotional manipulation of others to fight and keep attention on themselves with the excuse that they have emotion going on.

When emotion stops being used in this way the Arts will actually flourish.
Nothing natural in life is so self-focused as to demand attention stays on itself in the outside world. There are highlights of moments that should come out of impulse not intellect. An excuse is the intellects rights imposed on artistic form.

Nothing requires much more patience than watching two Actors who have done Emotional Preparation fight to keep the attention on themselves rather than taking each other in. Audiences initially might find it of interest to be left with the feeling of disappointment and emptiness.

Many new actors feel that when they reach this steppingstone they have arrived in Acting and nothing further could be the truth. It likely happens about a year into their training.

What works in acting is interaction. What works in acting is give and take. What works in acting regards the other as important at least as an equal influencer on your experience. Self-indulgence acting does not belong in Hollywood although most of Hollywood is full of it.

Excuse not to listen to others

The excuse of an emotion to not listen to others is an ill argument of a sick mindset. Conceited realities of excusing others for oneself are a reason to cancel any interest about oneself that you may have. The interest that audiences have in you as an Actor is the openness that you have in things that are outside of yourself. Even when deeply Emotionally Prepared the intrigue is how you interact with others.

Most actors could never get themselves emotional enough to be in a state of emotionally not listening to another. It is a particular thing that Emotionally that would get you to the point of not hearing another’s speech. Most Actors act it, and most are indignant about not needing to listen to others when using Emotional Preparation.

If you have ever experienced a death in the family, you will know that often times you listen and pay attention even more to others. When you hear someone say something you wonder if you are affected by what they are saying in the personal way that you are feeling.

Not a Reason to ignore what is happening

Many people when they are just starting out feel some sensations of overwhelm that are more connected to nerves than actual process. The Actual process of Emotional Preparation is the opening up and awakening of yourself, not deadening.

In every realistic way emotionally, the more emotional you are the more you will likely be aware of what is happening. Basic Instinct will awaken you to all that is around you rather than block off your ability to see things.

If you are highly emotional you may have a specific color of a point of view, but you will have an awareness of what is happening. You may be more aware of hypocritical actions if you are emotionally prepared on someone cheating on you. This is an awakening of emotion, not deadening.

If you use Emotional Preparation to ignore what is happening around you, you are missing the point of using it. Emotional Preparation is the waking up of an area within yourself, not the closing down of yourself.

Reason to Not Be in the Imaginary Circumstances

If you are not being affected personally, then you are not in the Imaginary Circumstances. It is key to understand Emotional Preparation that affects you personally brings you in closer to the Imaginary Circumstances, not farther away.

The result of Emotional Preparation should bring you more awareness of what is going on around you. You may have an altered point of view due to your preparation, but you will not have any reason not to be in and taking personally the Imaginary Circumstances.

Emotional Preparation will best assist your current observations and outlooks of others in your acting work. Using it as any excuse is usually the conceited Actors plight of Self Indulgence.

Self-Indulgence will only amplify your faults in acting not your strengths. Working off another Actor or in any way interacting with your environment or others in your circumstance will strengthen the appearance of your work even before you start to become really good at Acting.

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The training has to do with using the techniques to then be able to focus on outside of yourself stimulations to gain interactive components into your acting work.

The focus of the audience is on the emotional life, but it is also on the action and transactions between the Actors. Emotion alone is not normally enough to hold an audience’s attention. Emotional overlay or underlay within scenes is enough to insight the audience into opinion and connection.

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How Not to Use Emotional Preparation

  • Uses Emotional Preparation as an excuse to not listen to others –
  • Uses it to get so upset they can take over the entire scene.

If you begin to understand What Emotional Preparation is Not you will not make the same mistakes. Learn to be more successful faster with Emotional Preparation rather than continuing to use the techniques in un-productive ways.

Example: Sandra comes from a Community Theatre group who is used to doing several shows a year, sometimes even 6 shows per year. She is a well-rehearsed stage performer. She see’s something unique in one of the actors in a show she does and learns that there is a new technique she knows nothing about in Acting. When working with this actor she gets surprised over and over and over as they do the scene. She has so much fun with the scenes she does with this actor that she decides to take the training they recommends.

She starts to learn some concepts of Emotional Preparation and thinks she is grasping the ideas right away. She takes Emotional Preparation and is able to get herself super upset and then follows through by blaming the other actor the entire scene in every scene she does in the technique.

By the third class the teacher knows that she needs to learn more adjustments because she is not at all varied in her approach. She is using Emotional Preparation as an excuse to every time she acts in improvisational scene work to steam role the other Actor.

The Topic of Visceral Acting

At times things get so intense in her acting work that even when the other person is screaming back at her she acts out her Emotional Preparation ignoring the other student.

The teacher says to her “you’re not using Emotional Preparation to integrate or explore the others behavior and you are not letting go of your preparation before interacting with the other Actor.”

Sandra is shocked. She is thinking that she is just killing the acting lessons and acing the technique. The teacher assures her that she is doing the opposite of the technique requirements.

Regardless of how well you are able to access your emotions, unless it is an intended action of the playwright to ignore the other actor in certain ways you need to always be working with others. There are specific scenes that call on certain behaviors and Emotional Preparation can be used to realize those specifics. Using Emotional Preparations to fall into habits of specific behaviors tend to build bad acting habits.

Instead of ignoring another’s reality to be upset enough to think that you are stealing the show, use the other Actors and have all of, or most of your behavior coming with interaction with the other actor. Your lifeline of reality depends on your interaction.

If you utilize Emotional Preparation, you can build a highly stimulated state of Emotional Preparation that your partner will pull from you as you interact rather than performing your emotional state. Regardless of the intensities of your Emotional Preparations you want to always do nothing unless the other actor makes you do it. This is a sign of professional acting.

Example: Oversensitizing Self.

Adam is a very sensitive person. He is gay and has a lot of situations that he has lived through. He starts to utilize the Emotional Preparation techniques. He stimulates himself and usually is only in one area of himself. At first when initially learning that initially may be the case but in Adam’s case, he brings himself into a very quiet disposition.

He uses Emotional Preparation to sensitize himself to having no energy and to use it as an excuse not to interact with his partner. The teacher stops the exercise and asks what he has prepared on and why he is not interacting with his scene partner. Adam uses the excuse that his emotional state and Emotional Preparation has prevented it.

The teacher lets Adam know that how he is using Emotional Preparation as a crutch not to engage is incorrect. Teacher “you must engage with the other in the scene, otherwise there is no scene”.

Adam takes the advice and releases his Emotional Preparation before working so it is looser and is able to interact during his exercises.

Emotional Preparation cannot be an excuse not to interact. Your job as an experiencer is to be involved and responding. How you respond will become affected by what you Emotionally Prepare but Emotional Preparation is not an excuse not to respond.

The keys to your Emotional Preparation lies in the others you are interacting with. They do not rely on your own doing to pontificate. The keys to Emotional Preparation are about exploring the others that surround you with the interacting with them however they entice you to act or behave.

Regardless of how much Self stimulation that gets generated in Emotional Preparation you must focus yourself on outside stimulus during your acting scenes. It is the relationship with outside stimulants that bring out the internal elements of emotional inner life of the Actor.

The Actor can rest assured that what they have stimulated the most will likely be the most active in their acting scenes. Thus, there is a craft to Emotional Preparation and in Self Stimulation just prior to scenes.

The Actor that allows the work of the scene to work with what they have prepared and allow the merging realities will benefit from their preparation. The more the actor patients their undercurrent and has the outside pull from them what is internal the more clarity the scene will have. The trust of allowing external things to pull what is internal rather than just vomiting out the internal takes years for many to achieve.

Simple impulses will activate the inner life of the Actor who is full of Emotional Preparation and thus pull out from the actor the moments based on stimuli rather than performance. To the audience the acting will look effortless and to the actor it will feel like the end result is something that they are not doing but instead being.

Instead of being what preparation is not, be what preparation is for. The activating and stimulation of internal life to grant use to external conditions will automate the life of scene work and gift the effortless qualities in acting that are so sought after.

Scene work is about being responsive in a way that improves your interaction does not shut down your emotions as an Actor. Using techniques to increase your responsiveness is the goal, not the opposite.

Additional Points

Forcing yourself into an Emotional Situation will not result an amerced state of being within your Acting. Forcing or pushing yourself to an expected level of intensity based on a prior Mental commitment decided before the scene is performing, not Emotional Preparation.

Pushing Yourself to be someone you are not just bad Actor’s preparation. Pushing yourself to get into certain preplanned actions because you decided them quietly alone before doing the scene is not Emotional Preparation. Forcing yourself into a schizophrenic state of being is Mental Anguish, not Emotional Preparation.

Putting images in your mind mentally and believing that it will produce an emotional response when it doesn’t stimulate you turns into a convincing method of psyching yourself into a belief that is not real and will make your acting fake as well. Psyching yourself up into a belief is a mental stimulation, not an instinctual impulse. Psyching is also not Emotional Preparation.

Emotional Preparation is not the conceiving of an idea and gaining the gumption of executing it without gaining the stimulation of an emotional response. Emotional Preparation is not Mental Trickery, and it is not the Mind Controlled patrolling of what is happening in real time to assure yourself that you are in the present moment.

Emotional Preparation is not a device in which you use to get over nerves although when you start to become relaxed in your Emotional Preparation you will tend to lessen your nerves because of your emotional involvement. Your nerves towards participating in acting could also change to nerves about the emotional situation that you have entered.

Many people who while learning Emotional Preparation go through these phases of learning which you do not need to go through the learning of. Instead, you can learn the approach without

Early on in the learning of Acting many actors learn bits of the benefits of Emotional Preparation and then use it as a crutch to blame all their mistakes upon.

They will state that they were not living in the real time conditions of the scene because of their Emotional Preparation not being right. It is true that adjustments to it is part of the learning but too often they do not understand what Emotional Preparation is not.

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Using Emotional Preparation in mental ways will only long-term build blocks up in your acting work that you will not be able to get around until you make the adjustment to stop using Emotional Preparation in Mental ways.

Many people in acting will quit before they understand this key factor in the work. Most Actors will never even know that they quit because they were using Emotional Preparation as a mental convincing technique rather than a stimulation technique.

An acupuncturist that does not use any needles and tells the patients where the needles are imaginarily going to be will have no success just as the actor that using the Emotional stimulation techniques of Emotional Preparation as a Mental preparation rather than a emotionally stimulating one.

Emotional Preparation often gets used in the opposite way than it was intended. Instead of using the techniques to awaken yourself into awareness Actors daydream themselves out of their technique and into a mental condition of Acting and Performing rather than real stimulation.

When they get into their work with their partner what they thought was inside of them isn’t there because their daydreams and preparations were only mental planning of what was supposed to be emotionally stimulating.

You will often hear the Actor state that emotions do not like to be watched which is true but if the Actor had of started with a stimulating awake and alive emotional stimulant, they would have a gut reaction to their partner initially in their acting work instead of a head reaction or thought process of what do I do next or what do I do now.

Understanding What Emotional Preparation is not is just as important than understanding what it is.

About Simon Blake

Simon Blake has studied between 30,000 – 40,000 acting exercises and studied over 8-10++ thousand acting students and professionals. Studying over 1000+ famous names in the industry learning techniques that are keys to unlocking their talents.

“Meisner In and Out Exercise, which was later known as Doors and Activities give a basic building block to modern day acting” Simon Blake’s training includes every aspect of Meisner Training.

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

Simon Blake runs and operates the website EmotionalPreparation.com which teaches Actors how to add Emotion to their acting using improved acting techniques.

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Emotional Preparation is Not

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