What is Acting?

Over the past 28 years I have performed in more than 400 live plays, musicals, pageants and concerts. I have directed over fifty full length productions and written half a dozen plays and countless sketches. Here is what I have boiled it down to: ACTING IS...Pretending on Purpose. That's right pretending. Now I know you just finished a book by the latest Hollywood Guru that said that acting is TRUTH. Ironic for a guy who teaches people to lie for a living to spend more time on the subject of truth than the average televangelist, don't you think.

Well, I'm not telling you he's wrong, but if I were I would be in famous company. In his book "On the technique of acting" Michael Chekhov, nephew of the famous Russian playwright Anton, argues that the imagination is the only tool strong enough to provide an actor with original and interesting character ideas. Now this was a guy who stood toe to toe with Stanislavsky, good ole Stan even called him his most famous student.

So, what do I mean when I say, acting is pretending is purpose? Well, you remember cops and robbers, or house, or cowboys and Indians? We all used some variation of role playing in our childhood. These game usually were selected by the bossiest kid on the playground and they would continue until no one could take anymore random rule changes and then we'd all go hang upside down on the monkey bars to relieve the stress. That was pure pretend! What we do in the theatre is a little more complicated.

We agree with a group of people that we will practice pretending to be someone we're not at scheduled times for a number of weeks. We build elaborate dress up clothes and buy special lamps to get just the right light. We find or create sounds and music, playhouses and special toys called props, to make sure it is all just right. Then we invite another, hopefully larger, group of people to watch us present our rehearsed pretending. Sounds kind of silly when I say it like that, doesn't it? Makes you wonder why all these Hollywood types take themselves so seriously, when in reality that is there job and they get millions for it. Why do they care if we "respect" them as artists as long as we pay our ten bucks a pop and keep sucking down movies?

Why do I do it, you may ask, I ask myself all the time. Here is the answer. I believe that the human imagination has a way of exploring the world around us that helps us better understand ourselves and others. I believe that people who are skilled in weaving these imaginations into stories and presenting them in a way that I find disarming and entertaining have a unique opportunity to make me see and admit things about myself and others that I might not if faced with "reality".

We as actors are basically story tellers. Hopefully we are selecting the kinds of stories that have the power to uplift and improve the human condition, show us who we are and remind us of who we want to be. That is why I do it. Over the coming weeks I am coming back to this dramorama project to plant some seeds and I will discuss in more detail the ideas behind my particular brand of pretend, I hope you will join me. Feel free to explore the sight and borrow anything you find here, it's all free. Drop a comment now and then to let us know how we're doing, and if you have an article idea send it to markrmorris2@sbcglobal.net.

hunting for the perfect monologue

Searching for the perfect monologue can be like hunting Bigfoot or the Loch Ness monster. You keep hearing rumors that they exist but every time you think you’ve found it, you hear the actor ahead of you deliver it better than you ever could.

While the perfect monologue may not it exist, it is certain that many good ones do. Your chore as an actor is to try on as many as it takes to find several that fit. If you are new to acting you may want to try your local library or bookstore for a book of prepared monologues to get you started. Or a web site such as: http://www.mvhsdrama.com/contemporarymonos.htm

When working with prepared monologues I recommend finding those that are cut from one act or full length plays. If you are a seasoned veteran try cutting your own from the script of one of your favorite plays or musicals. Many novels and other prose can also be a good source.

Be sure to prepare at least one comedic and one dramatic monologue as part of your repertoire. In preparing your monologue for performance make sure to find out if there are time constraints. In an audition setting directors frequently ask for a certain length of monologue. Be prepared to make adjustments.

You may find it helpful to retype the text of your monologue into a screenwriting template or program which will lay it out in standard format which equals approximately one minute per page. Here is an excellent resource for a free opensource screenwriting and preproduction tool I use all the time
http://www.mvhsdrama.com/contemporarymonos.htm

Once you have selected a variety of pieces try them out on an audience. Even family and friends, while the may not tell you if you’re bad, will be able to honestly say which piece they like most. (or, hate least as the case may be) Narrow it down to two and commit them to memory. Don’t just familiarize yourself with it. Memorize it so you could do it waking from a dead sleep.

Okay now you are ready to block your monologue. Remember less is more in this endeavor. Keep your movement confined to a reasonably small area. You never know when you may be asked to audition in a makeup trailer! Once you have your monologues memorized and blocked you are ready to go.

Don’t forget, as you learn new tricks and techniques brush up your blocking and acting choices in your monologues. Keep them fresh. Don’t waste all that time and money on classes and neglect to update your best calling card to show what you can do.

Audition skills you can build on!

Auditions today! Those two words have been striking fear into the hearts of would be actors everywhere. As a twelve year veteran director and actor with over fifty directing credits I am here to tell you that it need not be that way.If you follow a few simple rules auditioning can become just another part of the acting experience.
First, always think of the audition as a performance, after all its all acting. Your time in the spotlight begins the minute you walk in the door resume in hand with a smile on your face.
Second, remember that those directors are just people doing a job, not gods. They genuinely want to find people that entertain them and that they will enjoy working with. And don't cheat the little people, you never know when that script supervisor may turn out to be second director, or the directors significant other,etc.
Third there are very few essential elements in a quality acting performance, get them right and you'll go far. Be seen: This entails using appropriate facial communication, body language and gestures. You would do well to take a class or two in improv, or ballet, learn grace of movement even if you are a skater, "Dude", you still have to look good, Think these things through. Be heard: actors who neglect the culturing of their voice very rarely have decades long careers in any medium. Develop pitch, rhythm, pace, diction. In short all the things your junior high choir director harped on. Be understood: whether it is a memorized monologue or a cold reading make sure you find out what this character wants and communicate it clearly. Keep it simple, and remember you have lots of choices in interpretation, for example two actors both known for playing hostile characters brilliantly with two very different approaches: Jack Nicholson "I'm Back!", and Clint Eastwood "Do you feel lucky?" Remember that last guy's good choice is not necessarily the best.
Last but not least: practice! Audition every chance you get, especially for stuff that seems too simple or that you are completely wrong for. By putting yourself into an audition for a part you have no stake in you give yourself a chance to analyze your own audition skills. Besides, who knows what will happen? The only sure fire cure I know for "stage fright" (which is not your friend no matter who tells you it is) is practice!

here are some audition listings from online, (we are in no way endorsing these opportunities or vouching for the legitamcy of the people or productions represented) http://www.auditions.net/ http://www.auditions.com/
here's a sight with audition tips for dancers

How not to cry on cue!

How to cry on cue.
The title alone is enough to strike fear into the heart of many amateur actors and even more directors. the concept of real tears onstage is a controversial one to say the least. As a director I have often been faced with a baffled actor attempting to produce copious amounts of saline at the drop of a hat. My question is always why? Most scenes call for true emotion to be portrayed carefully which rarely includes breaking down in gales of tears.
Instead of all the mechanical tricks of the trade, the dry eyes, the hemorrhoid cream on the tissue, and the old vaudeville classic the cut onion, may I suggest another tack?
Play against the emotion. That's right, try with all your might to maintain your composure. Make a valiant effort to avoid breaking down in front of that nefarious character who is the source of your tears, or play it strong in the face of tragedy for your young children, be brave!
You see, in real life there are precious few opportunities to let it all hang out, and believe me no one wants to see you really lose it on stage, it makes us uncomfortable, which may be edgy, but it ain't good acting.In real life most situations that bring us to tears generally make us wish that we could hold them back, ergo play against the emotion.
You may find that if emotion is properly paced and the rise of the emotion is well directed to the necessary level, that real tears may be unnecessary, even uncalled for.
Film of course is the exception, but there is always glycerin or saline. Remember that acting is 90% mental and 10% physical. Give me an actor who handles emotion carefully and thoughtfully over gallons of fluid any day.