Becoming A Credible Actor
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Becoming A Credible Actor

What actong entails and what some of the training methods are

There are no set rules on becoming an actor and it is never too late as an older person might make it as an older character in a sit-com or play. One can start early and get a lucky break or may become noticed later in life after years of trial and error. An older actor may never gotten any recognition outside of his immediate circle of contacts and be quite content with local community theatre. Another may want to go onto professional stage and experience a wider more discerning audience. What is important is that the actor enjoys what he does, whether there is the recognition or not. Obviously the younger one is, the more likely he is going to experiment with different roles and the greater exposure he is likely to have with time.

When a child finishes high school and wants to get into an acting career, it helps to have the right training. But training can also be had at local theatre schools that give the child an easier access to stage life and methods. The student may learn to act without words at the beginning. Really acting is just that, the words are there to fill a dialogue but the actor should be in the moment with the other actor first and foremost. He may be taught to image something on stage as if he were miming some actions so that the audience believes in his actions without the words.

The training may come as formalized courses from visiting teachers that have specialized in one technique over another. That can be done so that the student finds out his strengths and works on his weaknesses. Such is the case for actors that are camera shy. They are taught to concentrate on body movements, synchronizing their movements to that of the other actor and becoming familiar with on camera work by working in small groups with a video operator. Often the fear is a question of being exposed and a more intimate group would solve the fear.

He may be taught to improvise with another actor in a scene that has been reduced to a only few words exchanged between actors. This allows the actors to use their imagination and come up with an authentic piece as well as permit the actions to sustain themselves without a dialogue. Again this tends to favour an approach where the actor does not bury his talent in the words. They become a bare necessity to his expressiveness.

A good deal of what the actor needs to succeed in can be learned through social intercourse, he has to participate in the world around him to learn socialize and learn how to react with people. So a lot of what the actor learns on stage is actually transported from his witnessing and participating in the world around him. A closed person who has difficulty interacting is going to have difficulty in being a credible actor in an intimate scene. He is less likely to succeed than an open-minded person who has learned that exhibiting an emotional reaction to a verbal intercourse is a cardinal step in becoming credible in that scene. A less socially active person is likely to have more difficulty emotionally intense scene and will likely be unable to demonstrate that he is actually involved with the person who is relating to.

The actor should be able to get into character and leave that character after his job. He has to give life to that character and that may be through method acting, or another system like the Meisner technique. Method acting entails living the life of the character almost, one can study how the person lived so that you can be as realistic as possible. Meisner's method meant that the actor should be in tune with his fellow actors that he acts off of. So in order to be real on stage or in film one has to be connected through the feeling evoked by the way the other actor said his line and not the words themselves. The goal is authenticity. The audience will always pick out a fake interpretation.

The novice should be careful about the school he chooses and the training course. Some schools offer limited training, others offer similar methods. Some offer the opportunity to an employment pool or even better access to their company productions. But often enough the student wants to know where he is going to go after that school has a limited exposure. The novice should consider his options through the school that he is enrolled in as actors generally do have much money to throw around.

So if it is a foundation course that he is taking, will this be recognised in other establishments? Are their casting people an artistic agents that come by the theatre or film school to see what is being performed? What about going into production? This will give the actor more complete knowledge as to what the industry involves should he wish to create his own events or short films.

Many schools pop up as methodology become more complex. The key is in finding what the actor can use to his advantage. So if he has limited exposure to working on another persons message, then something derived from the Strasbourg school would be ideal. So many actors have become successful and have led credible roles through this school of thought. Old is good and it is absolutely nonsense to believe that since generations have passed, the method is out of touch with the actor’s needs. People still react the way they did.

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Comments (1)

Great and interesting discussion here..thanks