One concept that was discussed in the book is identity. Before an actor can truly perform at their best you must learn to know who you are. The more an actor develops a full sense of his own identity, the more his scope and capacity for identification with other characters than his own can be made possible. We must become self observant enough not only to recognize our needs and define our feelings, but to connect them to the behavior which you are performing as. Your own identity and self-knowledge are the main sources for any character you may play.
The normal procedure of identifying with observed events which we went through as children should not ever stop for an actor as an adult. The whole Idea of knowing your own Identity Is one that Is helpful In acting, but Is also helpful In general, as an Individual. Before a person can perform as anything, a friend, a mother, etc. They must have a sense of their own identity to be able to perform that Job as well with excellence. Another concept that I found important was sense memory.
In the art of sense memory it is vital that you try to localize one area of your senses that you most vividly remember and then recall the sensation. Thereafter we must make our body react to this memory as we did when we actually went through such an experience. Such as, f you are to be cold; localize an area where you remember such a feeling most vividly the back of your neck; recall the sensation and hunch your shoulders, stiffen your back a little bit and even make yourself shiver a bit. This Is something that would find extremely hard to do as an actor and give much credit to them for being able to master sense memory.
Many times when you have these feelings, such as cold, we are unaware that we are even feeling this as a true feeling, so would be hard to recall this memory if you never really recall having it. Feelings are a tricky thing and can be very misconstrued at times so trying to show he emotion that you are really feeling could sometimes be hard for an audience to read. The one idea that I have thought of prior to reading this book is the importance of an actor being highly aware of their senses.
Because of the enormous importance of the five senses, there should be continuous work on heightening and sharpening them as an actor. Anything dormant which you might awaken through daily concentrated attention to your senses will add to your growth as an actor. Give meaning to what you receive when you see, when you hear, when you taste, when you smell, when you touch. When listening to someone on stage, don’t Just listen to he words, listen to the context, how they’re said, what you’re experiencing, etc.
Also, Its rare Tanat you make constant eye contact Witt someone you’re talking to In real Tie, so don’t do it when acting. This is something that many people need to do for life purposes. In the fast pace world that we live in today it is hard to take the time to stop and allow our senses to take over. To smell a spring day or to hear birds chirping. For many this would help to, not only actors, realize the importance of the five senses and not to get so wrapped up in the day to day motions and to take a minute to “stop and smell the sees. ” The final concept that I would like to touch on is reality.
To perform with reality we must take from life, and what we take must have some pertinence. A mere imitation of nature in its familiar daily aspects is the antithesis of art. We should never forget that selection is our goal. We can’t Just use anything from “real” life on stage. We must only take relevant things. And some reality will be distracting to the audience (Ex. If you create rain they be thinking “how did they do that? “). Fights etc. Can’t be “real. ” You Can’t use everything accidental that happens, some won’t be appropriate to the situation.