Within Meisner Technique work, I am very happy to let my actors play and explore and discover what happens, and then analyse what happened, the effects the work has on each actor etc. The truthful, emotional results can be staggering. I say can be, because neither I, nor the actors know what is going to happen, it is wholly dependant on what happens in the moment. I sometimes worry, when I hear of teachers putting pressure on actors, suggesting that an exercise is only good when actors either kiss, fight or end in floods of tears. Whilst I have seen exercises resulting in all of these, it has never been because I demanded it of my actors. Rather, it has been a truthful response based entirely on the other person. If a teacher pushes you to reach a pinnacle of emotion, surely then, as an actor your attention is now split between the exercise and trying to cry/attack/kiss. Internally you are trying to make yourself feel something, or in other words, play to a result in order to satisfy the teacher, or at least his/her demands. Sometimes the most truthful and honest moments happen in a whimper, rather that a shout and the difficulty again is in recognising what is truthful and what is not. That is the job of a teacher.
Letting Them Act - A Teacher's Blog
Monday, 13 January 2014
Breaking Down Actors - Do we really need it?
Within Meisner Technique work, I am very happy to let my actors play and explore and discover what happens, and then analyse what happened, the effects the work has on each actor etc. The truthful, emotional results can be staggering. I say can be, because neither I, nor the actors know what is going to happen, it is wholly dependant on what happens in the moment. I sometimes worry, when I hear of teachers putting pressure on actors, suggesting that an exercise is only good when actors either kiss, fight or end in floods of tears. Whilst I have seen exercises resulting in all of these, it has never been because I demanded it of my actors. Rather, it has been a truthful response based entirely on the other person. If a teacher pushes you to reach a pinnacle of emotion, surely then, as an actor your attention is now split between the exercise and trying to cry/attack/kiss. Internally you are trying to make yourself feel something, or in other words, play to a result in order to satisfy the teacher, or at least his/her demands. Sometimes the most truthful and honest moments happen in a whimper, rather that a shout and the difficulty again is in recognising what is truthful and what is not. That is the job of a teacher.
Friday, 3 January 2014
New Years Resolution and January Acting Classes
Happy New Year Everyone.
I’m currently sat on the train on the way back to London which means a number of things: my holidays are coming to an end, term is about to start, I need to go back to the gym and it’s time to make 2014 work.
I always feel recharged after time at home. Durham is a gorgeous city and when it is full of many of my favourite people there isn’t a better place to be. I needed these two weeks off; the last several weeks of work in November/December were incredibly stressful, busy and rewarding in equal measures. I love my job and my work however it can leave you drained. Teaching, especially anything performance related is physically demanding, it can’t be any other. Teachers aren’t allowed a lazy day, or a one to just sit behind a desk, piano or ballet bar and “teach” from that point. I’ve yet to find the way in which to do this, if it can be done I’d love to know how. In the meantime, my battery is stocked, and I’m raring to see what the new year will bring me. I have a number of plans. Forgive me if this blog is somewhat more of a personal reflection rather than my usual, fully work-related posts. They shall resume rather soon!
New Year Resolution
2013 saw the beginnings of me really taking control and setting foundations for the way in which I want to teach and where I see my teaching career going forward. Job in London, check. Living in a nice area of London, check. Teaching at an excellent school, check. Further pushing my own teaching practice, check. Getting my name out and about, check. In a short space of time, just this year, I’ve worked with roughly 380 professionals, drama school graduates, drama school students, students I’m employed to teach and novices, I just about reckon I could tell you most of their names. Most. Quite a wide range!
2014 is all about pushing and building on the foundations I worked to develop last year. Last year I was pushing, probably too-hard-too-quick, for people to come and work with me. This year I want that to reverse, people are beginning to want to work with me and seek me out and this is what I need, it tells me I’m not an idiot and that I know what I’m doing and people are beginning to acknowledge that. I have to say a huge thank you within that to the people who are championing what I do and spreading the word. I continue to hope that is because they value my work, as much as my friendship, and that means a lot.
To those of you who are interested in what I do, here’s an opportunity for you. I’m running a series of Meisner Acting Workshops starting the 21st of January. There are still a few spaces available:
Where: Church on the Corner, Angel
When: 21st January – 11th February(Tuesday Evenings 6.30pm-9.30pm)
Course Cost £80 (Student discounts available, email me)
You can read a little more about it here including past comments, feedback etc:
https://m.facebook.com/events/1382706048646343
For info, or to book, email me onadamstadius@googlemail.com
You want to know what I know, you will be changed as an actor (potentially, as a person) and you will be truthful. These aren’t empty promises. Invest in yourselves as Actors, it's never too late to develop.
@AdamStadius
Tuesday, 10 December 2013
The Learning is in the Doing
Monday, 2 December 2013
Why I'd never be a Method Actor
Emotion Memory/Affective Memory
Perhaps one of the most debated topics within actor training; the practice of recalling your past experiences to stir your emotions within your work on a role.
If you have time, here is a wonderful article on Stanislavki's system with a large sector given over to the emotion memory debate (but I'll give you some abbreviated highlights):
http://homepage.smc.edu/sawoski_perviz/Stanislavski.pdf
The fact of the matter is that Stanislavski chucked emotion memory from his system in his later years in favour of the Method of Physical Actions, which would later go in to the current trend of Actioning. Stella Adler had the sense to go back and work with Stanislavski after the Group Theatre disbanded and brought back his new principles. Strasberg instead ran with Emotion Memory, developing it in to the newer, radical Affective Memory, defined by a Starbergian student as
Wednesday, 27 November 2013
How Clever do you have to be to be an Actor? A Research Question
Wednesday, 20 November 2013
Post-Meisner Class Thoughts (A Note on Objectives)
Actors should be striving to live in the experience, moment to moment or the process. If you're aiming for a result, you're not fully engaged in the present.
To quote Bill Esper (Who's book, The Actor's Art and Craft I would highly recommend) 'Objectives are like loose change in your pocket' in that you don't walk down the street going "I have change in my pocket, I have change in my pocket, I have change in my pocket." the knowledge of that loose change will come up when it needs to, i.e. when you need to pay for something. An actor shouldn't come in to a scene chasing an objective. Yes if there is one to find, know it, then leave it alone, put your attention on the other actor and begin to observe and respond. It will become relevant when it needs to, within a text, the writer gives you the outlet to do so.
Objectives are a funny thing, it tends to be one of the biggest words batted around in British Actor training, and I understand why. Often (though I don't think all the time) a character does have an objective within a scene, but once it is ascertained, it can't become the all encompassing focus of the scene. 'I need to blackmail Nora Helmer, I need to blackmail Nora Helmer, I need to blackmail Nora Helmer' If you're playing Krogstad and that is all that moves through your head you'll become paralysed and not truly in the moment. 'Living Truthfully' refers to the constant responding to the behaviour of the person in front of you, not a self motivated objective. The focus of many Stanislavski teachers
Know it, then leave it alone.
Footnote: I realise I do harp on about Meisner a lot, it is my specialism now, and I do intend it to remain so. But I am always interested in debate or research and do have a good old grasp on your other practitioners too. Let me know if there are any practitioners which influence you, or any you want me to blog about on here.
Sunday, 17 November 2013
Starting out Small.
My evening classes in London are going great, I have a lovely core of actors and people who are dropping in for the occasional top up which is fantastic. I'm always excited when teaching Meisner, as every actor brings something new to the table, it's never the same for them, therefore it's never the same for me. Always fresh. Plus, my teaching of this is still relatively in it's infancy, I'm still very on my toes about it all, which I think is a good thing in any case. I've already seen amazing results in actors after only two (or in some cases one) session(s). The only issue is that in reality I will probably lose money this time around. On one hand I'm thrilled the classes are going as well as they are for the actors involved, they are lovely and working at the level I want them at. On the other, it's a shame it hasn't balanced financially. I need to figure a pricing structure which financially works if I'm going to do this in the future, so that students commit to working with me (suggestions welcome). Don't get me wrong, I appreciate plans change but when I end up chasing people up to find out they're not coming, that's irritating, as that was my electricity bill, or food for a week. But, lessons learnt. The experiment, I still consider a resounding success.