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"Acting is acting is acting. Seventy-five percent of the skills are the same [for film acting or stage acting].
There are a few differences. One of the things I did early on in film was over-enunciate and talk too loud. But,
when you get right down to it, the acting problems are really just the same." |
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Stanislavsky, Method, Meisner, Grotowski, Suzuki--there are as many acting methods in existence as there are
people to teach them. If you're reading this then you're probably looking for an answer to the above-stated
question. I can give you an answer to that question, but understand that what I'll be providing is just "an"
answer--not "the" answer. Anyone that tells you they have "the" answer to this particular question is looking
for a cult member, not an actor. Acting teachers, it seems, often are looking for acolytes rather than actors. They want to make you dependent on them rather than independent of them, to make you believe an authority of some kind must stamp "approved" on your acting. Nothing could be further from the truth. While an authority may help you begin your journey, you don't need an authority because the journey you take ultimately is yours and yours alone. What you really need is an understandable, immediately applicable, wide-ranging technique, and that's exactly what you'll find in my workshop: a fully formed, self-contained, easily grasped process for approaching text and presenting it in an effective manner. For that's what acting is, at its most essential--presenting text in an effective manner. When you see a great performance, or a good one, or simply an adequate one, in the theater or on film or wherever, more often than not you're seeing a pre-written, non-improvised text presented in an effective manner. When I say effective acting, I'm simply talking about acting that works, and if it works, it's working in a way very much the same as any other acting that works--according to a pattern. According to a set of understandable, albeit flexible, rules. It's all about the rules, folks. It's all about technique. |
"The purpose of any technique, the purpose of any skill which is learned through cognition and repetition in the
arts . . . is to break down the barriers between the conscious and the unconscious mind so that you don't have to
think about what you're doing. You can only be free if your unconscious is unfettered. There are a lot of people
who don't have technique but whose unconscious is unfettered . . . [But most of us] need a technique to enable us
to get out of our own way." |
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Selected Chapters from Acting that Matters
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All content copyright © 2002-2004 by Barry Pineo
