Hey World,
This entry was inspired by a question from a reader:
"If u want to be an actress do u have to show your natural self?" -Jamie A.
My response:
Jamie, this is a complex issue since each actor has their own methods that work for them. I like to use parts of myself in each role but I utilize many other inspirations for roles, such as images, playing with physical changes, vocal changes, posture, journaling thoughts of the character, clothing, hair style, makeup, and all kinds of unique forms of inspirational experiences. Usually when I read a story, I get a sense of what I feel moves me most about the character and I want to discover as much as I can about their background (whether I create this from my own imagination or not.)
As far as acting is concerned, Second City gave me my first break in allowing me true freedom of expression, pushed me to truly be present, and develop good listening skills with other actors. When I studied Meisner in 2008-09, (another form of acting) I had a major breakthrough experience in my work. I learned a lot about parts of acting that actually scared me. I had studied Method before, but Meisner was different and dangerous for me. It required mass amounts of hours of imaginative work. I remember, in one Meisner class, I sobbed so hard. It was the most dangerous risk I had taken in my work outside of improv. It was real. I was in the moment and I was combining my past Method work with a Meisner exercise that became a life changing experience. I utilized myself and I took that with me in my next film role. (This happened at Act One Studios, Chicago, and I can thank my upbeat, eccentric, wonderful teacher, Laura Sturm.)
I remember, I told my acting coach, Gretchen Sonstroem, at the time all about the experience in class. "I know what I need to do. I get where I need to go and I know how to tap into it." It felt dangerous because there are many other methodologies out there that say, it's not a good idea to use real life experiences, especially in stage work, since this can emotionally damage an actor offstage. However, in film, I feel there are less takes, for the most part, in comparison to a six or nine week run with multitudinous rehearsals. Other teachers have inspired me to do whatever it takes to serve up the story.
So, on my next set, I will delve into this in another blog, but I took my new discovery to my role. It was such a great experience. However, I left set highly melancholy. I personalized the entire situation and allowed myself to live in the moment. It was painful in real life. It was surreal and mind-blowing. I played a lead in an independent feature and I remember this one scene on the balcony, I left set holding my cinematographer's hand, wiping my face full of tears. "You were great babe." He held my hand and hugged me so hard. He knew in his heart that I utilized my entire being in order to tell this story.
***
I strongly prefer my own combination of Method and Meisner. In fact, at this point, in my own craft, I would like to consider it "method-less." I would like to give myself creative license to say, "Hey, I know what works, I don't need to label it. Depending on the character, story, and specific situation, the tactics I will use are going to change." I can't say, "Oh, Method will work in every acting situation. Or, oh, Improv will always work. There are NO absolute rules in acting, as far as I am concerned. That's what moves me so much.
Acting is unpredictable. The stories we tell change based upon delivery and the choices we make shape it. I'm a firm believer in making STRONG choices when it comes to any work whether in acting, writing, or direction. "Today is the day." Actors need to decide what their opinions are and they should be extremely strong ones.
At the end of the day, my main priorities are: 1.) Listening 2.) Knowing exactly what my specific intentions are 3.) Being present in the moment
I hope this answers your question!
Warmly,
Alex DiNovi
