The Actor's Tools - The Word

In the beginning was the Word, and the actors' no show without words - you can say that, but basically it's the truth. No words, no games. You can have a play without words, but not much. It's hard to write a template for the show without words.

words are the key to action, to thought, to feel, to relate to a world that is created actors. This is only the most direct link to the artist who created this work in a way that is horribly abused.

walk on the street, the poorest, most deprived areas, and you hear the richest poetry. Emotions, relationships, feelings, thoughts spill out on the sidewalks guttered like bullets.

Get an actor on stage to recite epic poetry, or today's gritty drama, and they flatten it all out. Those words are not married. They are married to their idea of action.

beast trained to become generic, the actors become a pale imitation of their source material, located within a lie

actors should learn to use words, trust in them. words guide the actor through a dramatic battlefield. Words are weapons, they have shields, they were sniffing dogs. Words are the keys to the character.

There are twenty six letters in our alphabet, and they are our binary language system. We are the number and recode in the form of words that we want, a simple and elegant build, or wordy convoluted structure, which reveals more character than he wants to say.

Words are the keys to actions; words make you laugh, cry the word

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Interestingly, many actors prefer to cry over their performance than thethe cause the audience cry . I guess he thought that the actor is more important than character, and if Sally, who is playing Juliet, really crying, then the audience will really be moved and impressed by her display of authenticity. Of course, its authenticity is not - it's just taking time out of Sally playing Juliet to feel wonderful about themselves

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for the link in the chain and the chain is only as strong as the weakest link. How can you keep playing - World - together, as well as the Atlas, with weak links? Shakespeare creates his Verona, Romeo and Juliet with beautiful words, words that paint the public imagination with the hot dusty streets, a young torrid love, and violent battles. David Mamet is the earthy, poetic imagery and real estate office used four-letter words waiting to Glengarry Glen Ross. You have to tell it like it was written.

The young actors have a tendency to try to reinvent the wheel art, because they are young. Because they feel that they express themselves, try to rotate the wheel in a square or oblong. They are rebelling against the world and its representative art, but at the same time, they are dragonflies, skimming the surface, looking at their reflections in the water glass. They see themselves in the art. They congratulate themselves as artists, lifestyle, instead of life. They are slaves to rebel against the creation of art.

They rebel against the word.

They rebel against the word.

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Great writers stand the test of time because of their brilliance, their talent for marrying a common universe. Words and deeds are the only traces they offer to tell us who these characters. Misuse of the word and you break the key. Actor offers audiences one-half of the core audience and it ends up with their half. Broken words and broken buttons litter the modern world of work.

Shakespeare, and many playwrights before him, whether an actor's monologue to show the character of true feelings. No monologue writer can give a character's monologue, which can be as a confessional to another actor. But sometimes things are not so direct. Words and deeds often only hint at what lies beneath the mask that the actor presents his fellow actors, the audience. As Shakespeare said, you may smile and smile and be a villain. We need words to open the door villainy behind the smiling mask.

Actors are often left inventing the character of their interior, but they still have the words and actions for the playwright clues, and cues to action.

Drama is conflict, and often only weapons are words. These weapons must be sharpened with practice and skill. Is that the thrust or parry?

In English the word we have inherited is designed and tested against the mists of time since the early Anglo-Saxon England. English language is encouraged, an orphan adopted many words from other languages ​​on the road. Greek, Roman, French, German, Dutch, we have a mongrel language that is fluid and changes all the time. It is a living language. Words that meant one years ago fifty thing means something else now. People are always inventing words and phrases and the ever shifting ground beneath our feet language.

It makes the task a daunting one actor. He has to find what words mean. goes further back in time to find that meaning, it is less likely to be one hundred percent accurate. An additional problem is that modern academic interpretations of old words take precedence over artistic ones. These interpretations of conspiracy to align the interpretation of the actor. Do not abuse the poor old Shakespeare too, but the artistic interpretations of his masterpieces are not in footnotes. And so the modern actor must fight through the fog imposed academic bonds. No wonder the poor bard has difficulty taking flight in modern productions. Poetry gives way to prose. Modern sensibilities are imposed on the flattened earth-shaking epic tragedy, or modern pop sensibility of the cartoon classic comedy.

be true to the word, and it will be a beacon illuminating the path that leads to a genius in the script. Somewhere out there, maybe even meet and make peace with the writer.

Words are just tools in the writers' hands. Tools to forge a living breathing character.

Actors use these tools for finding and improve their characters.