Steps of Listening in Acting involve Receiving BEFORE Expressing. Most Actors Force Actions and words on another attempting to over perform the words. Using the Keys of Listening involves receiving. Receiving the other mixes both your reality with the other interactively. Interaction is essential to acting. The Listening Techniques in Acting takes Practice of the Interaction of Doing.
Do the Steps of Listening Work?
Do the Steps of Listening Work? Absolutely! Listening is an important skill in communication. By following the steps you can improve your acting. The first step is to be attentive, which means actively listening by paying attention to what is being said. By eliminating any other distractions you empower yourself.
The steps help to be responding appropriately with constructive feedback or comments. All steps of listening are essential for effective communication. Effective communication is what helps acting scenes make sense. You can help yourself and improve your listening skills.
What Are the 5 Steps of Active Listening?
- Being Connected
- Receiving Stimulus
- Emotionally Internalizing
- Honestly Expressing
- Taking Action (verbal or non verbal)
Steps are Explained in Full Below!
Parts of this Article are from Acting Book Draft “Mastering Spontaneity in Acting“
Copyright 2016-2019, Simon Blake
Key Quotes of This Acting Article:
” Acting is the Craft of Listening.”
” The spontaneity of any moment is not ruined by listening but rather amplified. “
” Open available state of paying attention to what attracts you.”
Introduction to Listening:
Goal: So You can Develop Your own Acting Technique! Acting Technique that is not personalized is meaningless.
Listening in a certain way guidelines a vulnerable openness. Openness is key to listening in acting. To evaluate the way you listen will enhance your scene work. If you Offer an opportunity to yourself to widen your scope of listening you will achieve more. Advance your acting technique of how much you hear when you listen. Techniques are not meant to hinder, but enhance. If you are failing to hear in acting the common result is a mundane performance.
When you’re listening you are actively connected to the other Actor. Everything that’s connecting you to be “Tuned In” the the other Actors intensions is part of the listening process. You need to be able to be listening like a playwright pays attention to what they write. Those who listen intentionally pays attention to every word and the overall intention.
Actors who know that it takes hard work to listen practice it. Listening to your acting partner’s verbal and non verbal intentions.
How Important is Listening in Acting?
Listening is an essential part of acting. Actors need to be able to listen attentively in order to accurate. Actors jobs are to live in a real time experience of a scene. Listening is the ability to be and stay present in acting. The emotions and intentions behind the words of the script deserve the listening ear. If there is no reason to listen there is no reason to be in the scene.
The responses when listening are different than only half listening. Listening also allows actors to understand the context of scenes. An Actor who really listens helps themselves better understand the story. The Actors job is to live the story in a real time experience. You cannot have a real time experience if your blocking your listening. Listening provides you the opportunities of how to your emotion fits into the scene.
Listening is important for actors because it helps them pick up on subtle nuances. Subtle nuances are within a script only when listened to. Listening can help bring a performance to life. Listening also allows actors to build relationships with others. Creating more believable interactions involves listening to make adjustments between yourself and others.
Overall, listening is an essential skill for any actor. Listening is an acting tool. This acting tool allows you to take in all the information necessary for delivering an emotional performance.
Purposeful Body Language in Theatre Adds Responsiveness
Body language is a powerful tool in theatre. It can help you to better understand and respond to what is happening on stage. By paying attention to the body language of the actors, you can gain a deeper understanding of the characters and the story.
Body language can also be used to create specific effects on stage. For instance, by using strong body language, you can convey a sense of urgency or intensity. Or, by using more relaxed body language, you can create a sense of calm. You cannot master acting without listening and making adjustments to your partner.
By mastering body language, you can become a more responsive and effective theatregoer. So next time you’re watching a play, pay close attention to the actors’ body language. Is the Actors body language adjusting to the their scene partners. Can you see their process of listening and how it affects them? Listening gives you a new perspective on the performance and an audience a way to interact.
You’re acting partner has both facial expression, non verbal body language. All the words spoken should have a meaning of the message. To receive in a listening process your nonverbal communication never disconnects from the other actor. What the other Actor might say and what they might no say nonverbally are important indications. Indications and Nuances are to be listened to so you are able to connect with emotional reactions. All the nuance of physical responses onstage are part of the process. You may make eye contact that the camera catches during acting when you are listening with a true response. The silence of someone can put your attention in a new place. Be patient to even listen to the silence.
How Spontaneity Helps You Listen To Others
When you are spontaneous, you are more likely to be in the moment. Listening puts you in the moment with your acting partner. To be present with the other person will bring truth of life to your scene. This can help motivate you to really listen to what they are saying. Generate your response to understand them better by listening. When you listen it can also help you to build a stronger connection. The goal of acting is interaction. Listening is the acting tool of sharing in the experience.
The spontaneity of any moment not ruined by listening but rather amplified. If you reject what someone is saying that occurred because you listened. If someone delivers the message of an accident or a death your listening is critical to your experience. Even playing a small role on stage you need to listen so your spontaneity can respond accurately.
Learning to amplify your responses of being affected is the point of listening. By Listening to the other your intuitive connection is of desire. Audience want to desire to witness you listening and see all of your responses. If you are aware of the full listening process you gain yourself in your acting work. If you resist listening you resist having your full self in your work. Practice the full listening process you will achieve a greater result.
Not rushing your own responses when communicating with another takes practice. Practice takes time to achieve in acting. You will never know your full response without fully getting the gist of the other. Getting the gist from the other Actor requires listening. Even listening to painful news is important to your acting technique. The stimulation from listening to the other is part of your experience. You cannot have a full experience without training yourself to listen to others.
Relaxation is part of the listening process. The Kind of listening skills required in acting relaxed. Hearing uptight news requires first a bit of relaxation. When you audition you’re looking for a relaxed body language of listening and responsiveness. If your Actor’s are relaxed when they are listening they are receiving more. If the Actor is not listening often they are tense. Tension can come from nerves or simple slopping acting technique. It is very difficult to receive any responses when the moment is too tense.
Steps of Listening in Acting:
Step Zero: State 0 The Being state
The Being State is the unblocked and open available state of paying attention. Paying attention allows ebbs and flows to what attracts you and what repulses you. This means being free enough in yourself to be open. Being open enough to be responsive. Being responsive to either what attracts you or what repels you.
Steps of Listening in Acting Step 1:
1)Being in co-existence (connected with) with whatever your stimulation is.
Are you connected to your environment?
Are you connected to your scene partner?
Connecting to coexistence is the very first step of listening. Being connected starts whatever your emotional desires are to be stimulated. This is the Initial Stage of Interaction! Being is the first state of hearing. You may have an initial reaction at this point to the first moments of connecting. Work to discipline yourself to stay connected regardless of your reaction. IF you stay connected regardless of your reaction you will have a fuller experience.
Steps of Listening in Acting Step 2:
2)Receiving a Stimulus
Staying connected will continue to receive what is Stimulating you. Staying connected to receive a stimulus keeps you fresh in the moment of a real time experience.
AIM FOR: Truthful observation of listening
Connected Awareness
Interactive observation, unfiltered
When you receive a stimulus based off of something you receive what stimulates you.
Even if you are grossed out by the way someone is eating you receive how they are eating to have your reaction.
Training yourself not to ignore what you dislike is part of acting technique.
If the other does something or says something, you must receive it in order have authentic response.
Steps of Listening in Acting Step 3:
3) Internalization (The Emotional Stage of Realization)
Internalizing comes with the adult ability of knowing yourself. Internalization is a key thing when having a new experience. Actors trained to be responsive have a slight breath in, to internalize what they are experiencing. Rushing the moment of response does nothing for your acting. Having a moment of Internalization can amplify your experience, ground yourself and help your expressions.
Steps of Listening in Acting Step 4:
4)Honestly Expressing Feeling of Stimulus
If you watch great Actors like Jimmy Stewart take in a moment then honestly express how they feel it is incredible. There is a stimulus received, a moment of internal reflection and then an honest expression. Sometimes the Actor doesn’t want to express what they are having emotions about.
Letting out what is your honest reflection of being in the acting situation takes practice.
Steps of Listening in Acting Step 5:
5)Doing or taking an action
Actions Include: – speaking
- Speaking
- Moving Away or Towards Someone
- Expressing your own Point of View
The improvisation of this moment entirely a release. The key to this moment is freedom. Being free will help action in acting. Accurately listening helps to take actions.
The reality to listening is that it is two fold. Both Being and Doing are part of the listening process. You have a response to both Being in co-existence with the other. You have a response to coexisting with the other and/or are affected by what the other Does or Says.
If you are wise enough to stay connected you experience both your own experience and parts of the others. By receiving the others point of view you strengthen your own perspective. Your responses will be full rather than half hearted when you listen and receive.
Many modern Actors cannot and do not utilize the opportunity of listening. It take hard work to learn to listen. Many Actors think it is all about how to perform the preplanned lines. However, by fully listening before you express you include the nuances of your own talent. Your reality needs to be affected by the others so both can be affective.
If the others work is not based on the reality of the connection between yourselves, then call that out in your acting exercise. Don’t act like you are feeling a connection for the sake of the scene. Having an authentic connection sometimes can take a lot of trial and error. When adding Emotional Preparation to realize the scene emotionally even more work is needed.
Working at Listening beyond your impression will guarantee your responses are more authentic. Have the response that can only come from being present in that moment. Nothing can replace your authenticity. An actual thing that will generate authenticity is listening. What you express will be connected by listening will be accurate. Listening will help you fall into place within the scene.
____________
Acting Tips That Help You Listen Help You Receive the Other Actor
Listening is one of the most important skills an actor can have. It allows you to be present in the moment. Being really connected with your scene partner in vital to every acting scene. When you help yourself receive the other actor you inform yourself during your acting experience.
Here is a RECAP of tips to help you listen and receive the other actor:
1. Be present in the moment and focus on your scene partner.
2. Listen without judgment and let the other actor’s words affect you.
3. Respond truthfully to what the other actor is saying and feeling.
4. Don’t try to control the conversation, let it flow naturally.
5. Let go of any preconceived notions about the scene or character and be open to what unfolds.
By following these tips, you’ll be able to really listen and connect with the other actor, which will make for a more believable and enjoyable performance for both of you!
Steps of Listening in Acting Explained:
0) The zero point
The zero point in steps to listening is being unblocked. You are best when you are open and available to what gains your attention. You may be in a scene where the situation gains your attention. You may be noticing something that catches your curiosity. You may be in a scene where the other actor gains your attention by speaking to you. Regardless of what the stimulation is you need to be available enough to be open to an experience.
If you miss this zero-point step you may find that your audience does not initially connect to you. Even when you feel the suspense of your drama deeply you need a zero point. When making films especially you want to be in an open available state. Something will happen to you in the acting scene. Being emotionally unblocked helps create your reality.
When something does get your attention you can have that initial reaction. You may not have a strong emotional reaction if you do not start at a zero point. Many times, Actors who miss this step start to respond to things without the interaction. This can be very fake acting. It is important for the audience to see what has gotten the Actors attention. This step involves being relaxed before being affected. A relaxation state is often a missing part of your moments of connection.
Actors often are two lit fuses with combusting emotions that gesture out emotional expressions. Some great scenes are actors connected by an Imaginary Condition or Imaginary Circumstance. It is going to be a test to be able to listen to anything if you do not have a zero point.
When you add your Emotional Preparation. Your entire body may be indicating inflection of the stage directions or doing their own authentic processes. You may be upset with tears or shivers. But if you are affected that viscerally and don’t listen your acting will not be as good as you think it is. Great actor goes with both their instincts and their natural authentic expressions. You need to start with relaxation to achieve intensity.
As a scene unfolds the audience might start to really feel the safe space of expression between themselves and the actor. The audience will trust the Actor if the Actors starts at stage zero. It is easier to follow a situation when you have context as an audience as to what the situation is. Actors on stage know that the decision makers of the playwrights intensions are part of the posture. The overall theme of the production is a build up of authentic expressions. Audiences want to see Authentic expressions from their beginning, so they can make sense of them.
1) Co-Existing in Acting
Being “with” is sharing the presence of.
Sharing a space with another person or stimulation takes practice. Ask anyone who is married or has been. Marriage takes work and so does acting. Single people know relationships take sometimes too much work with the wrong person. It is not Being Present “over” another it is being present by co-existing in acting.
Being present with someone else which means you accept where you are. Co-existing matters in acting. You need to be co-existing to be in the moment. Keeping a position “over” another or your “presence is over” another is not receiving them. Being equal is the ideal state for acting training. Difficult co-existing life experiences are studied in scenes. But your training in acting is based on co-existing. You will always have difficulty hearing another or identifying with their perspective if you are not in being with them.
You must be in a state of being which is an Active state of forever becoming. The Being state is in a state of all possible outcomes. Being Present to another is receiving the individual’s awareness. The state of being is forever changing in order for life to happen in a scene. To be in a state of having any presence with another or in any situation requires work.
In order to be able to listen you must be in a state of being, which involves relaxation. We all must be able to relax enough to take in a new perspective. This allows at least some movement of self or change in perspective. If there is no change in perspective in an acting scene there is likely no scene at all.
Equality is a very important factor when adjusting yourself into the first state of listening. If you are “over” or ‘under’ another you will be in a state of constant doing. Doing in acting is interaction. Doing in acting is not forcing your doing on another. Co-existing with yourself and another person you are attempting communication with requires an open mind. Disruption cuts off the communication between people unless they are connected.
Two or more participants make the success of listening complete having an experience together. The truth of not being able to hear anther is not being open yourself. That which controls you is a real thing in acting. Instead of being controlled by another in a scene or acting rehearsal try to work from your own free will. If you are not capable of being present with the stimulus realize its limitations. If you are working with someone who is stubborn than admit that to yourself and openly. The entity that you are is supposed to be an open and hearing individual. If someone is asking you to share an ignorance with you know whether you can agree to that or not.
The ideal state of co-existing in acting will empower you not limit you. If you are not be able to hear until you are allowed to you are being controlled by the other actor. Be present and in a state of existence with that which is your stimulation freedom. Allow your feeling receptors to antenna out of you with full receptiveness.
This initial state of being is the state that dictates the openness. When you listen you may open up the other emotionally who connects to how well you are listening. The connection between the listener and the other actor can be an open one.
Dropping Emotional Preparation
2) Receiving Stimulus in Visceral Ways
The first thing about Receiving Stimulus is being visceral. Visceral listening means you are not blocked, and you allow the hebbie jebbies to happen to you. Yes, your receiving affects your core. Being stimulated and responsive to what gets your attention. When you allow something to get your attention within the acting scene the audience takes notice and connects. Do not try to refrain yourself away from what gets your natural attention, give into it. Listen to what is said but do not interrupt your own talent by ignoring what you are stimulated by.
The second element of Acting and Creative Arts has to do with Receiving Viscerally. If you receive the attention of sincerity from another than you work off of it. What actually happens is after receiving the others your sincerity of compassion opens up. This opening up of compassion is an example of a visceral effect. If you will try to identify with that quality logically rather than emotionally you may not experience the visceral effect. At that point of Sincerity, it has already started to affect you because it has affected your state of Being. When something affects your state of being you are having an authentic exchange.
Breaking down the interaction and understanding the first moment is critical. If your Emotional Preparation brings you into your gut emotional sickness is a visceral effect. If you are being affected by another is a critical thing for Artists to understand to release it into your work. Understanding yourself in Visceral Ways that deepen your ability to receive emotionally is key.
Canvas Painters go through this same thing but in relationship to their art. The moment of first being affected by another inspiration or idea and to receive it internally long enough to have it come out as expression. The first moment of a break in concentration outside of the Being (Emotional) work is fantastic! This is the first real stimulus that occurs outside of Being. That first moment if filled with all sorts of information for the listener if they are open to hearing it.
Interacting with conditions that have an effect on you is your responsibility to the moment in your acting. The ability to respond is the reason why you practice spontaneity in acting. The ability of your being (emotion) affected rests on the shoulders of your talent. Your talent is your capability of how deeply you are able to receive! It is vital to be able to open yourself up in ways that completely allow you to receive in acting. You do this in order to have the fullness of realization which then leads to responding to the stimulus.
If you wait to really hear that visceral emotional component within yourself you will be fantastic when you do acting. You cannot work off another Actor defenselessly unless you are able to receive them. Your actual response and formulation of response is completely part of your acting technique. You are incapable if your being is threatened to do anything other than shut down. You are capable of being open to receive from the other whatever they express. Sometimes as Actors we need to receive viscerally so the script can catch a moment, even a moment of fear.
Human Beings have emotional cords of variety. Emotional cords connect to our visceral being. When one human being with their acting instrument (themselves) express viscerally both actors feel it. Audiences feel you when you receive viscerally. The key is in the sincerity of which you take in receiving to your core. If you wait and really hear something to your core you are working at your deepest level.
The easiest way to look at this is by seeing it between two people who have similar interests. As soon as one offers a sincere interest of theirs to the other the other will immediately start to identify with it. If you take a vibrating b chord in a guitar and strum it you will see all the b chords of guitars not being played vibrating. Visceral talent operates in a way like vibrations. Vibrations resonate within the actor viscerally and then the connected actors feel the effects of it. If Jealousy or other factors like it are out of the way between actors then they can create something together.
Listening involves visceral receiving. the two individuals will start to resonate with each other their similarities. This is the natural exchange and process that is involved in steps of listening in acting.
KEYNOTE: Acting is the Craft of Listening.
Listing is how to have others do things to you that you receive. Audiences enjoy watching you receive things that affect you. The internal abilities you develop as an Actor collectively connect with your scene partner. This is a note about how ito allow others affect your visceral self. You have to work to find the allowance by crafting ways that you can able yourself to be affected by others.
Crafting how you are affected is part of having your own acting technique. Crafting in acting is not figuring out how to force others to penetrate their outcomes. Your abilities and talents of being needs to also offer freedom to the other actor. Working with the talents that they presently have to offer you grow further through connecting the depth of visceral listening.
Further Note: I have made this mistake as a teacher to take students to the points of which I knew they were capable but beyond what they were even unconsciously aware of. It is a place where a director has righter than an Actor has the right to be able to achieve. – this is interesting to be able to discuss prior to the beginning of Work booking Yourself.
4 Short STEPS to Emotional Preparation
3) Acting with the Internalizing Process To Receive Intensions
Intensions are meaning. Adding the intension of meaning takes discipline not to quickly judge or assume. What stimulates you allow receiving intentions is trust. This is why acting technique is such an important process. Don’t try to have a quick reaction to what you are stimulated by. Maybe what the person is saying is making you feel a certain way. Get affected by the what the other says but also get the full story of intention.
Getting the full story of intention determines a fuller reaction to it. Too many Actors get the smallest wif of reaction and then try to exaggerate their reaction. Listening just enough to get an excuse to exaggerate is not the full dramatic affect. How you Act you reaction out could be with being patient and really letting their reaction internalize.
The internal process is far more transparent than most are lead to believe. We are far more basic and intricate all at the same time. The Internalizing process leads to the decision or instinct that entails in a response. There is a decision here in how you train yourself with your own acting technique. Do you want to train yourself with an internal process or deflection? Do you want to only deflect your emotional response or to embrace your emotional response?
If you embrace your emotional response to the stimulus than you will have a transparent feeling. Regardless if your feeling is awkwardness or awareness to presence you can translate into the emotion. Having a moment in your acting where your internal is part of the listening process. By listening to your own response you can better connect and communicate.
If you do not embrace the Internal Emotional process than you likely will deflect into logic. Often the choice of logic turn events that occurrence into denying or actors convince themselves they have the answer. Just because you have the answers doesn’t mean you don’t need the experience. You definitely don’t want to de-signifying the event your suppose to be experiencing as an actor. Being overly logical can cause minimizing its occurrence as to not having any significance. Just because you know the answer or outcome of the scene you still need to explore it.
If you exploring within your acting scenes you will find your talents. If you take the outcome and play cate to the fact you know the ending you will miss parts of the experience. Talent is about having the experience. Talent is actually your inner emotional life. When you ignore what upsets you, you ignore your talent.
You can actually turn the negativity of your blocked parts of Self into assets you can use in your work. This is an incredible opportunity that artists have to encourage themselves to be more aware. Being more aware of your human faults and unavailability will expand your humanity.
It’s not that you are treating your acting work as therapy, but to have a place to express how your inner life with freedom. Freedom is its own teacher. Expressing without blocks in acting takes a lot of adjustments for some people. The allowance of Self to realize what is stopping you from full expression will find your abilities. When you grant your ability to develop tools to self expression you empower yourself.
The reality is that everyone has room to improve their availability of Self in acting. Do what is natural in the exercises and scenes. If you have to learn lessons twice because they are authentic lessons, then have no shame in that. In acting allow the long-term changes of Self to happen. The way that you do a particular scene one year will not be the same the next year. In acting you are actively growing and developing as you find new things about yourself.
The exercise work of the acting classes will develop you as a person. Listening is a critical teacher that provides a roadmap to your own growth. As changes occur you allow yourself to unfold more of your human abilities.
The actual reality of life is that every single moment is a moment of significance. Every moment effects your internal process of human growth. Every moment has it's own meaning even when appearing insignificant. Every moment is an occurrence of affecting more than one entity. The moment of initial internal process is the first moment at the Door in Acting Exercises. Shared processes are where the internal decisions rest between. The two parties are actually considered connected when they interact. But interaction takes being connected atleast in some frequency.
4) Expressing Yourself At The Right Moment
Timing is everything in acting. Being relaxed enough for the timing to pick itself is the art of acting. You want to be able to pick a point of intention, then express your opinion. Selecting a direct intent to the other person and helps expression. Being as specific as possible helps deepen expressing the right moment. Directing your expressions with listening often yield the highest results.
Is the emotional expression of self after an event or occurrence has already taken place and is the second part of connectedness that is based off the original occurrence? The expression is often a confirmation of what the original instinct has interpreted to be true. Expressions most often look for confirmations in order to have certainty.
5) Doing
Doing is a two part commitment of the moment. You choose how to develop your acting technique. You choose when your impulse is strong enough to start your expressions. But building Emotional Preparation up helps you develop depth. Your depth of emotion can be the color to your brush stroke of doing in acting.
You commit to expressing your honest opinion. Doing can come from two different areas of self, the inward spontaneous instinctual self or the self logic. If you operate a doing from an emotional connection it is different than from a logical connection. Listening and Doing from a place of logic does not have the emotional weight included in its expression. Balancing meaning and logic is part of the craft of acting. The less amount of logic you have in your acting scenes the better.
The playwright has already wrote out the logic of the scene. The playwright has already written the ark of the emotional drama. The Actor needs to access the experience to live a real time experience. Listening is not only calculating with the mind. Many overtly logical types make terrible actors. Art requires a grey scale in order to gradient emotion within the sharp lines. Acting requires activated emotion to help the action or doing.
Doing strictly from logic has little meaning. Meaning is interactive emotion. The craft of Doing in acting requires being able to activate your own emotions in your interaction of acting. If an Actor has the wisdom to turn off their thinking then they can function with mostly their emotional experience. If an Actor responds to doing only from their instinctual being rather than their intellectual decision process they will deepen their experience.
How an actor creates an ebb and flow within themselves of each moment is their craft of acting. There are two ways to commit to a doing. You can commit to doing something, or you can commit to doing nothing. In Acting both are actions as long as you have been considered and have had the initial 3 steps to listening occur.
Doing is the LAST part of Listening in Acting. Finding the spark of Doing as interaction with personal emotion builds experience.
Doing is often decided by either instinct, or logic. Actors instincts can often make decisions of when to express or participate in a Doing at a faster pace of logic. Depending upon the Actors process they may act to Do out of a logical approach to self or out of an instinctual sense of self. We encourage you to do from instinct.
IF you focus only on how you Do an Action without the component of listening you will look alone and fake. If you focus on Doing and interaction in acting with emotion you will look encompassing and interactive.
The moment where Instinct has ran its internal course is the peak of the timing to express it. If you result with commitment towards an action try to include interweaving emotion. It is the moment your internal self realization which has processed to accumulation which can spark a commitment to an action. Committing to an action may abruptly change a relation to another’s actions. Releasing an action without connected meaning will create no moment at all. You may not result in a completion of action if you don’t spark interaction with your acting partner.
Doing can be a verbal expression of speech or an Action of motion with the body. Typically an emotional expression is an automatic response to be present. If an actor does not know what to do staying present creates automatic moments. Being within the present moment will unfold the next moment.
The results of a vocal expression can result in a sharp pivot. Emotional Expressions can also create pivoting moments. Expressing the actual moment is doing of the interaction. When you are expressed and lead forward you include the other actor. When you force a doing you ignore parts of the other actor. A Being approach starts a new moment to become present because a vacuum affect is created. Emotion creates a vacuum effect with the element of receiving.
A moment of Being is the starting of the listening process through empathy. The Action of Doing is either the instinctual allowance of the Actor has a motivational purposeful of intent. It is important to note that most people are full of only their own logic. It takes a lot of work for logical people to become artistic actors.
Regardless of which type of Actor you are working off of you need to respond from yourself. To Do what actually happens you need to be free to respond how you feel and with the emotion you have inside. The actions of your actual Doing is the result of listening. If you are doing without listening you are acting alone. People act alone with no reference to their environment or other actors. People call this fake acting.
If you respond off of what others are Doing then you can be certain that you are staying ‘Present’. The present moment consists of both your reality and the other actors. Staying in the ‘Present’ is the sane way of approaching Acting without gaining distraction from speculation.
When the teachings of ‘Being in the Present Moment’ are taught people struggle with identifying their own impulses. Working to know which impulses to work off and which not to are the key to acting technique. What is meant is to stay in the present includes staying in the presence of other rather than only being within your own reality.
Perception of your expression is an incredibly desired thing in acting. We want to achieve moment of emotional depth yet stay in the present moment. By listening you can achieve this in this last step of listening; the Doing Stage. As long as you are being present in the moment your doing is going to be authentic. Your responses are going to gain the insights that incorporate listening and being informed of all the moments around your expressing. You will respond with the emotional information of your listening.
Doing is the result of a process internally already initiated by a stimulation that has already occurred from steps 1-4. Whether the feeling of ridicule brings a person to do something or an action of another brings a person to do something the doing of the thing is a result of an impetus already occurring.
The encompassing reality is the expression which is a doing and not a being of the work. But if you do not do the being part of the work than you are missing the expression of stimulus that grounds the work into the reality of what is actually the undercurrent.
Staying in the presence of what has actually been done keeps you awake and in a state of presence with another that is Active and not disconnected. If the two actors become close together and the expression becomes myopic it can still be assured that the camera will capture the expressions and behaviors of the Actors in motion and they are actively involved in a Doing response of the work that is also present to the act of listening.
It must also be said that often times during inter exchanges of communication in scenes and with others that steps 1, 2, 3, and 4 can happen without step 5 which is part of the communication that takes place without resulting in an action of doing.
The results of communication do not always result in a doing. Often times the expression of inward self is all that transpires. When the expression of inward self is all that transpires without verbal expression there is still an expression that occurs or an internal change in emotion achieved.
4 Short STEPS to Emotional Preparation
What Listening is Not
Ignoring what you don’t want to hear.
Filtering out what you want to hear and refusing to hear what you don’t agree with.
Editing out the other persons interaction
Speaking out the other persons thoughts
Knowing what the others persons thoughts are before they are said (Telepathic)
If you are to listen you are to take in a real time event without altering it. Much of what you listen to you may not want to experience but taking license to alter it is what Listening is Not. You are also not expected to know the thoughts and opinions of others all the time before they are said even though you may have a good insight into how they are feeling.
Examples of not listening:
Example 1:
Expressing yourself only to what you think the other person will agree with. – Not listening.
Example 2:
Waiting to make your point. Waiting while the other is speaking until you can speak is not listening.
Example 3:
Example 4:
Without the internalization process. The back and forth is not genuine because it does not go through the persons emotionality before getting expressed.
When you read the play and your non verbal responses don’t match the playwrights intentions you may think that you make the mistake of not doing good acting but instead consider an adjustment to your emotional preparation. Listen fully to the other actor to know whether you are in alignment with what is going on in the present rather than just what is scripted to be happening. Meisner’s approach at its base is to stay in the moment of reality not to pretend so you can stay within the imaginary circumstances of the scene.
Step of Realization in Acting:
Allowing yourself to Realize is a permission you give yourself. Understanding that there is no limit and no disconnect when you listen. Realization is a moment in Acting. This moment can be very quick or a very long specific thing that can go on minutes.
The actual step of realization is a receiving of being affected. This receiving gives you responsiveness and life when you are acting. Most Actors fail acting and at least particially cut off
Realize the things that stop you from being unblocked, open and available. This is part of the ongoing journey of the life of an Actor. You can have two choices when learning anything artistic.
You can either embrace these elements and become aware of them or you can try to reduce your awareness of them. If you try to reduce your awareness of your blocked, unopened, and unavailable emotions you will limit how much you have to work with. Ignorance will not be helpful for the long term.
At a zero point of being you are able to have balance that many people in life do not have on a day to day basis. Actors need a sounder balance than others in life because they go through deeper experiences.
Simon Blake with (Some) of his acting notebook from classes.
If you give in to your difficulties by exploring them you will find your talents. Talent is actually your inner emotional life. When you ignore what upsets you, you ignore your talent.
You can actually turn the negativity of your blocked parts of Self into assets you can use in your work. This is an incredible opportunity that artists have to encourage themselves to be more aware of their human faults and unavailabilities.
You don’t treat acting work as therapy, but to have a place to express how your inner life actually is without blocks to it. The allowance of Self to realize what is stopping you from full expression will grant your ability to develop tools to self expression.
The reality is that everyone has room to improve their availability of Self in acting. Do what is natural in the exercises and scenes that you do and also allow the long-term changes of Self to happen. The way that you do a particular scene one year will not be the same the next year if you are actively growing in your acting. The exercise work of the acting classes will develop you as a person and changes will occur if you allow yourself to unfold more of your human abilities.
Steps to Listening Questions and Answers:
Listening to questions and answers is an important skill that can help you engage in conversations more effectively. Make sure to give the other your full attention. By reflecting on Questions and Answers you can discover your own meaning. Find your own acting technique through exploration.
Look the other in the eye, avoid distractions, and maintain good posture. Clarify what you don’t understand. Use Repetition in acting when you are unclear about the moment. Repeat or paraphrase what was said back to them in order to demonstrate that you have listened. Be sure you have understood the other person’s intention. Be honest to provide thoughtful answers based on what you heard from the other. Listen to both their behavior and their words.
How Do You Practice Listening in Acting?
In acting, listening is a crucial skill to practice. It helps ensure that actors are in sync with one another. Listening in acting makes you natural and believable. Listening is part of interacting with each other. To practice listening, actors can take part in activities such as improvisation exercises. Adding Emotional Preparation will create strong responses.
Actors can also focus on their posture during rehearsals. Posture sometimes keeps actors open to each other to be able to listen. Keeping an open body position to also shows you are physically ready to hear the other person’s words. Listening is also about being able to accurately interpret and understand the others intention.
What the other person is saying is a message they communicate with words and through facial expressions. Body language and line delivery are part of audiences enjoying watching your acting. A great way to practice this skill is through improvisations. Actors become more aware of their own listening skills, enabling them to be more prepared for their scenes.
Is Active Listening Different Than Passive Listening?
Active listening is a type of communication strategy. The listener fully concentrates on what is being said, processes the information, and then provides feedback. Active Listening involves verbal and non-verbal cues. Communication is part of listening such as eye contact, nodding, not interrupting, and repeating back what was said.
To ensure understanding the others intentions you can utilize Repetition. It helps to build trust between the speaker and listener by showing that the listener is engaged in the conversation. By repeating parts of what you hear you will better understand it.
Passive listening, on the other hand, is simply hearing what is being said without responding or reacting in any way. The Passive type of listening does not foster an exchange of ideas. Passive listening often misses meaningful dialogue. Active listening requires more effort than passive listening. Active listening will result in better acting scenes and more involved in a conversation.
When You Listen To Others, What Do You Really Listen For?
When I listen to others, I am really listening for the underlying meaning. The meaning of their words are not just their definitions. Understanding empathy of what kind of emotion they feel, and why. What motivates them to talk about what they’re talking about? What experiences have shaped their thoughts and opinions on the subject?
Actively listening to what you agree or disagree is good acting training. Interacting with what you listen to is part of communication and community. Focusing on these things helps you better understand the other person. If you listen well, you will both open up more opportunities for meaningful conversation.
When two people really listen they will build a community of likeminded thoughts and ideas. When you listen to others there will be a sense of vulnerability and sharing. Additionally, listening allows me to provide insight or advice based on my own experiences. Listening attentively not only builds stronger relationships but can also help us learn. Simply listening can help us grow with each other. The interaction of listening is what good acting scenes are made up of.
Question: Am I ready to Act or ready to be an Actor?
When it comes to being an actor, there are mayor different aspects: the act of interaction (The Doing) and the craft of acting (Emotional Preparation).
Before you can truly become an actor, you must first decide if you are ready to act. This means considering whether or not you are willing to get the necessary skills and training. Second you want to decide if you are willing to be vulnerable to your emotions.
In order to perform on stage or in front of a camera everyone will see you authentically. Are you willing and capable of dropping your acting baggage after scenes? Are you willing to be authentically upset? Are you wanting to learn the skills of crafting your emotions?
Once you have determined that you are ready to act, then it is time to begin honing your craft. In order to become a successful actor you need to start journaling. You may set up to taking classes, learning techniques and developing your own unique style that allows you to stand out from other actors.
If you are ready as in willing to be affected by another person than you are ready to be involved in Acting. If you are willing to have your responses influenced by listening than you are “ready”. If you are trying to perfect each moment in your acting you may never be ready.
About Simon Blake
Simon Blake has studied over 30000 – 40 000 acting exercises and studied over 8-10++ thousand acting students and professionals. Studying over 1000+ famous names in the industry learning techniques that are keys to unlocking their talents.
“Meisner In and Out Exercise, which was later known as Doors and Activities give a basic building block to modern day acting” Simon Blake’s training includes every aspect of Acting Training. Simon Blake runs and operates the website EmotionalPreparation.com which teaches Actors how to add Emotion to their acting using improved acting techniques.
Don’t Miss the Acting Lists !
Over 900 Meisner Independent Activities
900 + Emotions for Acting List
Draft from Acting Book, “Mastering Spontaneity in Acting“
Copyright 2016-2019, Simon Blake
Acting Activities Sample BOOKLET
– with LINKS (use links just before purchase!)
[3d-flip-book id=”6782″ ][/3d-flip-book]