Emotional_Preparation_Emotions_Banner
Clicky

Who is this Acting book for, Mastering Spontaneity in Acting

Who is this Acting Book For, Mastering Spontaneity in Acting

Acting Book for Mastering Spontaneity is the concept. The acting book will and does enhance the Actors ability to have spontaneity in their work. Finding the ability to BOTH have emotions and have spontaneity through interacting.

Studying an Acting Book is to help you find ingredients that you can put into action and implementation.

Copyright 2016-2019, Simon Blake
Rough Draft of Acting Book – still editing format.


Who is this Acting Book For?
How to Utilize this Acting Book
An Optimistic Approach
Goal of Each Large Section/curriculum / Book then Overall of the Learning
Types of Preparation /Learning
Different Students Learning and Experimenting: /32 students each book 1 + 2.
Specifics of the Learning, Catalog of Index (Learning Steps only)
(then, have each student introduced as they work with more detail).

working Title: Emotional Expressions: Techniques A-Z
Current Title: Mastering Spontaneity in Acting.


Building a technique that does not destroy craft is the mastering of technique. It is not to become a master over your technique as it is to be disciplined enough to allow your expressions to build up into a craft as components gather together and interplay.

Who is this Acting book for?
This book is for those who are curious about or interested in learning how Improvisational Techniques work in Acting.

   Audiences           Artists         Creative
  Entertainers            Actors          Students
Writers         Directors       Teachers
Theatre Groups      Producers       Educators
 Artistic Fields         Sculptors       Musicians
Painters            Avid Readers        Prolific Learners
Curious Minds       Investors       Dyslexics
Protege’s and Early learners

Goals For the Actor:

  • Increase your Responsiveness
  • Able yourself in your work
  • Release your Talent and Impulses in your work
  • Find what works by discovering what doesn’t

The Goal for the Actor is to utilize this book to Increase your own Responsiveness in Acting. Acting is involvement not intellect during Acting. Audiences will read the class notes paying attention to the way the Actors become involved in their scenes. Often involvement is spontaneous and comes at a surprise to the Actor as it is happening to them.

The goals of this book are to enable the Actor into Responsiveness and Expressiveness. Take this book and allow yourself to absorb its values without feeling any obligation whatsoever to its intellectual dispositions or points of view. The hope is that the Actor will form their own points of view and not adopt any opinions in this book unless it truthfully is the Actors real opinions.

By considering the opinions in this book the hope is that the Actor will be able to find their own opinions and practices and put to work their newfound discoveries about themselves. Disregarding parts of this acting book that do not fit a particular Actor is another desired outcome from the author. The freer from intellect the Actor can be often the more involved they are in their scenes and projects.

Learn how to consider these materials without feeling the obligations that you have to have the same opinions. Many Artists as Actors discover what works for themselves after first discovering what does not work for them. Finding that process this book can help achieve.

        ____________ 
IndependentActivities.com?!
  say yes to IndependentActivities.com !!
____READINGTINTS.COM__  has a Fantastic Selection!
___  COOL: Colored Reading Tints! ________

Why Actors never learn to Improvise
Many Actors learn variations of Performance Techniques with the majority of their training on presenting their worked-out moments. Most Actors never learn to improvise freely because they learn to perform a perception for the audience. They train themselves to be in the thought processes of the audience rather than themselves

The majority of Acting training focuses on becoming a character rather than in their own living out experience. Understanding that a real time occurrence unfolding that you do not have full control of and that you have not worked out with the other Actors is the improvisational training grounds.

The world of instinctual acting and improvisational acting started to challenge vaudevillian and other performance based acting techniques. Actors typically will learn lines and then take acting classes to be able to trick themselves into making the audience believe they are real.

All the techniques in this book are improvisational in nature and for the purpose of living a real time actual experience when on stage or in a classroom exercise. The emotions, feelings, actions and reactions are all real. The only protection that the actor has is that they are involved in a circumstance that is imaginary. Everything within the imaginary circumstances is really felt.

The goal of improvisational techniques is to gain being in the unfolding events as they occur in real time. There is a permission to interact with the changing circumstances that you can adjust to rather than having to follow the prior agreed upon outcome. There are varying degrees to improvising that each project dictates a range of. Being able to adjust to the improvisational curve will enable you to adjust to doing projects with more people in the industry.

Training changed Actors working on their stage presence to Actors working on their real presence and active emotional states of being affected. The best training grounds there are in the artistic fields are Improvisation-ally based. Gut instincts are utilized, and real time exercises are not scripted to train the actors instinctual ability to respond and receive each other while doing a scene.

There are several schools of thought in this acting book.

Most Actors do not train in Improvisational techniques even in current day. The majority of the classroom work that is being taught will immediately go to scripted scene work to train Actors to perform the scene’s doings to each other or the audience. When the Actors are performing the words to each other in the script they are pontificating rather than being in their scene-work. There is a balance that each Actor needs to find, a sweet spot, where they are able to be affected and still communicate the ideas within the script.

Many in the artistic community became wise to the fraudulence of the actors that trained only in performance-based ways. Those that noticed what was real and not real in scene and classwork started to develop Improvisational ways of training the Actors. These classrooms quietly have been working with real emotions, real experiences and real relationships in scenes for decades. The goals of the training were to achieve the ability to Improvise scenes and classroom works.

Acting Book is for the purpose of Introspection that is the Being side of the work to become Interactive, the Doing side of the work using Spontaneity.

The greats that came from this kind of training started taking over the scene of Hollywood and beyond. Many agencies who got involved in the entertainment industry also started using these improvisational techniques to quickly make films with desired casts.

Purpose of this Acting Book:
To experience the journey of the acting training that is Improvisation-ally based. Audiences and students in the work field of acting can enjoy relating those who are brave enough souls to try to be themselves and be real in an imaginary environment.

People learn from all walks of life how to better express themselves by following their own instincts in the exercises of acting. We follow the lives, stories and techniques of these Acting students and Artists as they learn techniques that help them better themselves.

The students struggle with their own desires to be master’s over their own emotional involvement in their work. The students learn that the only Mastering that they can achieve is mastering getting out of their own way and to allow their own talents to progress them. Readers can follow allow individual stories of the student’s experiences or follow the lesson plans in progression that the teachers have laid out.

Easy to follow instructions lead them into their own experiences rather than having to perfect a way of doing things that may not be their own way. The reader can follow along with the exercises which are reflective in nature and help build an understanding of their of caricature.

This book is based in Acting Classes and rehearsal backdrop but teaches and experiences of life which is much more than just acting lessons. The relationships that the students build with one another and with the readers in the book goes on deepens and widens in scope and dimension of humanity explored rather than performance perfected.

Often it is the Improvised moments that reveal the true nature of the students to both themselves and to the reading audience. This book explores how Artists and Actors learn about their own expressions using techniques that free them from the restrictions of self that are usually imposed in acting classes. The result is development of Technique that help to craft Self-expression.

Visceral Acting Techniques

How to use this Acting Book?

As a behind the scenes Reveal of creative processes
As an Actors Tool and workbook.
As a Manual for teaching Creative Arts and/or Acting.
As a way for Teachers to use as a curriculum builder for Acting or Creative classes.
Groups of Actors or Artists can create and hold their own classes.
As a Directors Tutorial to an acting group, which can be rehearsals.
As a Writers Reference for idea’s for writing
This books intension is to be published in Multilingual Prints as well. To be utilized as a teaching and learning tool, a reference and a manual tool, and a Tutorial Introduction to Acting and Film Art from A-Z.

Time Tested Techniques

Although this training is not common in all acting class environments the work is time tested. Boutique classrooms and intimate film sets have continued to teach and develop these techniques for well over 60 years. These are techniques that are available to view in certain Actors careers.

These are time tested exercises that have never been consolidated into a curriculum or overall review like it is here in written form with examples. Many of these exercises and initial uses of these exercises have been used for over 6 decades and generation after generation have added their twists to the experiences of learning about themselves and the craft of Acting, Directing, Producing and Writing for both Stage and Film.

This list of what the book could be used for could easily go over several pages of examples. Creative people of nearly all ages could learn Acting following the examples in this book and doing the exercises as generations have before it. This book actually compiles exercises that have been used for generations of Actors to train themselves for Film or Stage productions.

Most who know or who have done this work before having said there could never be a conclusive or precise book that could be published on the topic that captures the life of the classroom. Yet, this book both explains the pertinent meanings of the exercises and examples real life examples of students at nearly every angle. For for the reader is a first-time experience that reveals as if they were really inside their classroom and behind the stage curtain experiencing the work right beside the actor.

The reader will have taken the work in just as an auditor or classmate would in the learning environment. The Real-life experiences that are referenced in this book are true to taught techniques and classroom experiences. The fact that many of the students are now decades later working actors their names have been left out or changed from original transcript-ed examples. Over 14 years of time period for some more recent examples were taken into consideration to example real life scenarios of classroom experiences. This book breaks the barriers of explanation that thought could never be achieved in book form. The stories are actual experiences and trainings in most cases.

Reviews through explanation and the different types of ways to do the exercises is explored with the experience of its author who has witnessed an unsurmountable amount of this work in classrooms all around North America. The examples break the barriers of what was thought could never be explained and leaves a blueprint for the work of Acting in a way that has never been attempted in decades. It is both a manual for achieving the skill of Acting and a manual for realizing the craft of Acting.

Higher school grades, Jr. High and up could choose curriculum’s based and described in this acting book. Theatre Groups or groups of students can go over and through this work without having any other aide. Best is to find any type of classroom that teaches this type of work or exercises as you read and work through understanding the principles within these pages with the teacher who is also working through their own understanding of the work. This book could be thought of as a three-year course of Acting, which is a good start. It goes through the principles and the exercises that Meisner styled acting teachers teach weekly. Arguments for Acting are solve-able and acceptance of differences in opinions are achieved within these pages because so many points of views are taken into consideration and explored.


A Note from the Author, Simon Blake:
In part the reason why I have written this acting book is to put out what I know that others do not know or do not stop and allow themselves to realize as they are doing this work. Acting is so instinctive that there is a tendency to get caught up in a two-year program and think that you are all knowing after those two years.

The reality of seeing students going through two-year programs training under similar methods and realizing different results proves that no one group of two-year students are all encompassing of the work that is entitling them the experience they believe that they have. Additionally, the classes and longer-term students often only get the knowledges that the teachers are capable of passing down to that specific group of students. A similar dynamic usually occurs with series regulars in the industry as well who develop habits that are instinctual just within the cast of the series but do not translate outside of their two years or several year series.

The experience that I have is more valuable than might appear to the passerby but to the wise old owl who is able to see more than others it is a valuable thing too. I have been able to sit in and watch as many classes as possible and teaching styles over a fifteen-year period at Playhouse West in North Hollywood, California and for over two decades since my original training in acting. The acting book doesn’t discuss what experiences about producing or film, theatre or political financing.

Simon Blake with ‘Some’ of his Acting Classes Notes

An Optimistic Approach

In Artistic Endeavors it is vital to the core of the life of the work that the Artist or Actor remain optimistic while learning the craft of acting. It is incredible how optimism affects artistic endeavors. There is an influential effect on the acting and learning when someone is capable of remaining in optimism and enthusiasm about a potential welcomed outcome.

Goal of / Book then Overall of the Learning
-1st part of 2
The goal of this book and the 2nd Technique Book is to illustrate the techniques by examples and teach the techniques by instruction. The reader should be able to comprehend the process just by reading. They will still have to do the work that is in the book in actuality but can do so with and understanding of the process rather than a blindness of only faith.

Education and examples about the process that not only may be close to what the reader will go through if they take on the work in the book in a classroom but examples of others going through the experience will build a rounded repertoire which will help to identify with other problems and predicaments. Having a care for others is a growing process throughout the work that we do as Actors and Artists often develop similar habits and traits.

Building the sensitivities that we need to relate more to both our audience and other fellow peer actors will almost always benefit ourselves too, although sometimes it will benefit ourselves after the other has benefited.

Lastly, the goal of the book is a reference manual for all things and processes Acting including exercises, techniques, terms, conditions, root causes of issues, and relationship matter that all cross topic one another on our journey learning the craft of Acting and developing ourselves as human beings. Human development is the most sought-after quality trait yet the most forgotten aspect in training in the artistic fields.

This book takes into accounts the human lessons and predicament’s that Actors and Artists encounter as they attempt over and over to learn their humanity by interaction in their artistic processes and techniques. Paying attention to others journeys and techniques of success that they find in their quests can often lead us to adding more insights to our own quest.

From Reading this book
You should be able to Achieve:

  - Overall understanding of various techniques of Expression
- Develop Empathy through reading other people’s stories and perspectives
- Master the ability to stop interrupting your own talent                       
- Allow your experience to interpret your talent.
- Realize in the present moment what and how you feel about topics.                     
- Insights into other understandings and reaction are different than how they think they will react. 
- Self Realization of experience rather than thought.    
- Appreciation of Artistic process in Acting. 
- Behind the scenes look at how Actors create.
- Entertainment 


The book will not only educate you on improving your own technique, but it will also inform you how to relate to working with other techniques without being in need to correct the others way of working to your own. When each actor has the freedom of working with the techniques that works well for themselves, they are better able to contribute to the creative profession and creative process.

Exampling the ways that Actors work could prove to be of a high value. Audiences should enjoy a behind the scenes look at the way actors actually process in their preparations and work. The joy of exploring the creative acting process is revealed.

This book records over, well over 15 years of class-time at Playhouse West plus several other consistent study periods over the past.

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.

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

Don’t Miss the Acting Lists !
Over 900 Meisner Independent Activities
900 + Emotions for Acting List

Copyright 2016-2019, Simon Blake
Mastering Spontaneity in Acting Book Draft.

Simon Blake
Friend Me
Latest posts by Simon Blake (see all)
Sale_Banner Pixlr 2022 Youtube Launch video Semi annual sale Super_Fast_webhosting Emotions_Banner Emotional_Preparation_Emotions_Banner