Basic Acting Terminology
Now that you fully understand the voice and the process by which your teacher will evaluate you, you need to familiarize yourself with acting. Acting is a lot like pretending, only it is much moreinvolved. When we pretend, we fantasize about life as we wish it was. In acting, the playwright has written the story, and it is the actors’ job to get the message as the playwright intended to the audience.
Most plays on stage today are written in a representational style, meaning they are meant to represent real life naturally. The actors do not make eye contact with nor do they acknowledge the audience. As a matter of fact, they act as though there is a fourth wall between the stage and the house (the part of the auditorium where the audience sits). However, throughout history and even today, some plays are written in a presentational style in which the actors discuss the events on stage with the audience. These are just two types, and within each of these, there are numerous others, which will be discussed in other sections.
Regardless of the play style, each actor must develop a unique character that fits the author’s intent and is entertaining to the audience. It is always wise to research a character before you audition for the part. If you are trying out for several parts within the same play, be sure to make each character unique and original so that the director will see your versatility.
The process of characterization can be quite intimidating for young actors, but it does not have to be. There are several basic places to look for information about one’s character: what he says about himself, what others say about him, what the author says about him (both in the preface and in the stage directions), and what one can deduce from the subtext (what the lines imply but never say). If the character is historical (a non-fictional figure from history), the actor can research him or her on the Internet and in books. If the character is from a classical play (an older play that has withstood the test of time), the actor can read what scholars have written over the years. And then, of course, the actor will role score the character to fill in any remaining blanks and for deeper insight.
Once you have discovered all that you can about your character, you can decide if you want to play him or her emotionally or technically. Emotional acting, also called Method Acting, requires the actor to experience all of the emotions that the character is experiencing. Developed by Konstantin Stanislavski, a Russian actor and director, the actor is urges to become the character. One of his key conditions, the “magic if,” encourages the actor to imagine how he would respond if he was in this character’s situation, if he felt this character’s emotions, if he had the character’s relationships.
Another type of acting, technical acting, allows the actor to explore the character from a less emotionally involved perspective. Actors analyze the conditions (the weather, time period, time of day, etc.), he obstacles (what is keeping them from their goal), and the objectives (what they want from the scene or play). They observe people who fit the character type and act out their observations, adding their own special touches. One downfall to technical acting is that actors are not as involved in their characters, and in the event that something une3xpected happens during a performance, the technical actor will be less likely to respond as the character would than the emotional actor.
Most actors use a combination of these styles, but a few are very loyal in their approach. A good actor will, however, never oppose any idea before trying it for him or herself. As you grow as an actor, you will form your own opinions and preferences. Like any other group project, a group of actors must develop a philosophy of teamwork. Because they are together in such a small space for so long, many casts become like a family. However, once in character, there is a certain protocol for working with others on-stage. Actors need to remember to pay attention to the production schedule and to always meet deadlines. Never be late to rehearsals, and always remember to bring your script and a pencil – you will be making changes! It is always a good idea to have a notepad, too, for taking down notes. Be off book (have your lines memorized) when the director instructs you to, and establish trust and professionalism with your fellow cast members. Be quiet backstage (the area to the sides and behind the curtains) before entrances and after exits. When the director calls “places,” get there quickly and quietly, and when he or she calls “cut,” stop and quietly await instruction.
Learn to be a team player on-stage too. Have you ever needed to say something to someone and a third party just kept getting in the way? Maybe they stood between you and the person to whom you were talking? Perhaps they just kept interrupting. In a play, when someone who should not have the audience’s attention does something to steal it from the actor who should have their attention, this is called scene stealing or upstaging. Actors whose presence on-stage is not the center of attention must master the art of staying involved in the scene without stealing it. At the same time, and actor wants to always place him or herself so that he or she can be seen by the audience. When an actor allows himself to be blocked by scenery or other actors, he is blocking or covering himself. When an actor crosses (moves from one area to another) in front of you, you must counter cross (move naturally to where you can still be seen). Regardless of the action, everything an actor does on-stage must be motivated. In other words, there must be a valid reason for the character to perform the action, not just the actor following directions.
Besides being upstaged by scenery and other actors, an actor can upstage himself by turning away from the audience. Because it feels more natural, actors tend to face whoever is speaking, even if doing so turns him away from those who are trying to enjoy his performance. The term cheating out refers to when an actor compromises, facing a point between the other actor and the audience and making it look as though he is addressing the other actor. Because he is facing the stage and can see how it is dressed (stage dressing is when the actors or director places actors so the stage looks like a piece of art), the director will place actors where he or she thinks they need to be. However, sometimes, especially during long monologs, the director will tell the actor to take the stage. This means that the actor is free to move anywhere on the stage. Because of the unpredictability of this actor’s movements, teamwork become especially important so that the stage picture stays pleasant and balanced.