By Carol Kirkpatrick, author of ARIA READY, The Business of Singing
“Acting is not about being someone different. It’s finding the similarity in what is apparently different, then finding myself in there.” Meryl Streep
I want to start by saying that most of what others think of as “good” or “bad” acting traits is a very subjective and personal taste thing. Because we are all so very different and have had different experiences that have helped us develop our own taste in values, likes and dislikes of certain performers voices, personalities, food we enjoy while others may not, etc., it is hard to please everyone or anyone all the time. Remember that. That said, there are some prevailing standards that will help you get out of your own way so you are able to actually “put on” your character when it’s time to perform.
- Becoming emotional vulnerable is not an easy place to get to, especially in front of a bunch of strangers or even friends. We have spent a large part of our lives learning how to not do that. I am not necessarily talking about the ability to wail, get angry, cry or vomit up feelings. We have spent a great deal of time protecting ourselves; not wanting to look unattractive, flinching from the uglier sides of human nature, or having certain feelings you’d rather not explore because they might take you to emotional places you have put on hold. Having an emotional wall or stepping outside our comfort zones can be awkward and scary. But, if you want to be able to leave all of those doubts and fears outside the rehearsal space, you can do just that. It’s becoming self-confident step by step at losing your inhibitions when getting inside your character. It’s a process and is something you need to continue to work through to get out of your own way as you practice this discipline.
- One way to help yourself do this is to understand that acting works much better when you are pursuing the goals of your character rather than trying to emote. Instead of forcing an emotional feeling, take the time to really figure out what your characters whole path is for this piece and where you are on that path in each scene. This is what the great Russian acting theorist Stanislavsky spoke of. Planning is the groundwork for inspiration.
- The first time you do most things, you may falter because you lack confidence in how to do what is asked of you. It might also simply be that you are uncomfortable with your own body. Performers can be of any physical shape or size. There are great skinny actors, great fat actors, great tall actors, great short actors, great beautiful actors and great ugly actors. But however they look, they need to own it and know how to work it.
- Even just the thought of being on stage might make you nervous thus causing you to hold back which is simply a lack of experience. It takes time to feel comfortable onstage. Think of this as how you might feel in someone else’s home the first time you’re visiting. Know that even seasoned actors have moments of doubt. But they get to a point, where they do know what they are doing; they enjoy it, and can do it anytime, anywhere under any conditions and can recover from mistakes. This puts your audience at ease and this kind of self assurance develops your long term goal, as you become confidently vulnerable when you perform.
- Most importantly, one must have a really consistent and solid vocal technique so you can spend your time inhabiting your character as you move through the piece. You might notice that about 50% of your time on stage is listening to your colleague’s dialogue. There’s nothing worse than seeing someone delivering a line, then dropping out as your fellow performer has a speech and then delivering your next line. Have you ever noticed how often when you see a live performance your eye is drawn to the actor receiving information? You can’t easily fake listening. You have to really do it.
- And finally, good actors/performers are smart, have great taste, love collaborating, are extremely hard-working, are humble (not divas), are generous, are inventive, are playful, are adventurous, have sense of timing, and a sense of humor.
Now you know what I think, I want to know what you think about acting. Ciao, Carol
Now go get um!!! Ciao until next time. Carol
Email Carol at Carol@ariaready.net.
Since retiring from the stage, Carol Kirkpatrick continues to be in demand as a voice teacher, clinician, and adjudicator of competitions including the Metropolitan Opera National Council Auditions. Combining her knowledge of performance, business, and interpersonal skills, she has written the second edition of her highly regarded book, Aria Ready: The Business of Singing, a step-by-step career guide for singers and teachers of singing. Aria Ready has been used by universities, music conservatories and summer and apprentice programs throughout the world as a curriculum for teaching Ms. Kirkpatrick’s process of career development, making her “the” expert in this area. She lives in Denver, Colorado.
