Help me be a better actor.
September 29, 2013 5:50 AM Subscribe
I recently landed the role of Lennox in a local production of Macbeth—uh, "The Scottish Play"—despite very little experience in acting. I enjoy roles with fewer lines, so I was pleased at first. Now that we're well into rehearsals, however, I'm struggling with my personality and the character's. Lennox is a thane, a soldier, and I'm a weedy introvert. I need some help.
I have a few questions.
How can I get inside Lennox's head? Reading material, videos, general advice really really really appreciated.
I'm basically the only introvert in a production full of extroverts. Moreover, all of them seem to know each other pretty well. I'm worried that the cast and crew think of me as a weirdo loner. Is this likely?
As someone who considers themselves an introvert (unless I've known someone for a long time, really, I'm pretty shy and quiet), should I have taken the part?
Because I'm introverted and struggling with the character, I dread rehearsals. The director seems pretty no-nonsense, and I'm not sure how well they'd respond to me telling them about my anxieties. We are, after all, almost two months into rehearsals. The performances are in mid-late November. Should I talk to the director? Should I ask to quit? Should I talk to the director and then, depending, ask to quit?
Please advise!
I have a few questions.
How can I get inside Lennox's head? Reading material, videos, general advice really really really appreciated.
I'm basically the only introvert in a production full of extroverts. Moreover, all of them seem to know each other pretty well. I'm worried that the cast and crew think of me as a weirdo loner. Is this likely?
As someone who considers themselves an introvert (unless I've known someone for a long time, really, I'm pretty shy and quiet), should I have taken the part?
Because I'm introverted and struggling with the character, I dread rehearsals. The director seems pretty no-nonsense, and I'm not sure how well they'd respond to me telling them about my anxieties. We are, after all, almost two months into rehearsals. The performances are in mid-late November. Should I talk to the director? Should I ask to quit? Should I talk to the director and then, depending, ask to quit?
Please advise!
Say the words, and do the actions.
That's all acting is.
posted by wittgenstein at 6:59 AM on September 29, 2013 [4 favorites]
That's all acting is.
posted by wittgenstein at 6:59 AM on September 29, 2013 [4 favorites]
Don't quit! You are probably doing much better than you think.
Lennox is a fairly small character--which is great, because you get to make him your own. Make some decisions about his personality (if the director has not already given you instructions). Is he a drunk? Is he a bully? Is he a brownnoser? Once you decide that, you'll know how to play him. It doesn't matter that he's different than you--that's why it's called acting. :)
It's totally fair to ask the director if there's anything you could be doing better, but keep in mind that it's her job to tell you if she wants you to do something a different way. (And when she gives you a note, it's your job to take it.)
All drama people are weirdos. You are just one more weirdo. Just try to be friendly--smile and say hello--and strike up conversation when you can. The more time you spend with them, the better you'll get to know you.
You might benefit from some mindfulness meditation or yoga before rehearsals to help you relax a bit. I think it's the anxiety that's standing in your way more than anything else you've mentioned.
posted by elizeh at 7:01 AM on September 29, 2013 [1 favorite]
Lennox is a fairly small character--which is great, because you get to make him your own. Make some decisions about his personality (if the director has not already given you instructions). Is he a drunk? Is he a bully? Is he a brownnoser? Once you decide that, you'll know how to play him. It doesn't matter that he's different than you--that's why it's called acting. :)
It's totally fair to ask the director if there's anything you could be doing better, but keep in mind that it's her job to tell you if she wants you to do something a different way. (And when she gives you a note, it's your job to take it.)
All drama people are weirdos. You are just one more weirdo. Just try to be friendly--smile and say hello--and strike up conversation when you can. The more time you spend with them, the better you'll get to know you.
You might benefit from some mindfulness meditation or yoga before rehearsals to help you relax a bit. I think it's the anxiety that's standing in your way more than anything else you've mentioned.
posted by elizeh at 7:01 AM on September 29, 2013 [1 favorite]
Don't worry about not talking enough if you're surrounded by actors. They'll love you if you just enjoy their company. Enjoy your time with the extroverts.
Actors also love talking about acting. Asking them for advice is like giving them presents. They get to think about things that are important to them and to help you (everyone loves helping).
Don't believe or do everything they say, and always consider the director's opinion the most important, but have a great time with your fellow cast members.
Actors are usually pretty likeable, and likeable people are often that way because they are predisposed to like other people.
posted by amtho at 7:07 AM on September 29, 2013
Actors also love talking about acting. Asking them for advice is like giving them presents. They get to think about things that are important to them and to help you (everyone loves helping).
Don't believe or do everything they say, and always consider the director's opinion the most important, but have a great time with your fellow cast members.
Actors are usually pretty likeable, and likeable people are often that way because they are predisposed to like other people.
posted by amtho at 7:07 AM on September 29, 2013
You need to stop worrying about getting inside Lennox's head and work on getting out of your own head. Pick up a copy of A Practical Handbook for the Actor. Read it, cover to cover. Apply it to your situation. Internalize it. Live it. That book is all about breaking down the process of acting into clear simple and above all, manageable, steps. If you can do a good analysis of your character's actions, and then focus on carrying out those actions (and nothing else), it will help immensely.
Finally, don't be so sure that all the other actors are extroverts. Lots of actors are introverts, who are paradoxically also exhibitionists. Sometimes they can look like extroverts because of all the bluster and overblown "personality" they exhibit in a group of fellow actors. Some actors are classic introverts though, like Robert De Niro. Don't worry about it. The only thing you need to worry about is the play, and specifically your scenes, and your actions within the scenes.
posted by wabbittwax at 7:10 AM on September 29, 2013
Finally, don't be so sure that all the other actors are extroverts. Lots of actors are introverts, who are paradoxically also exhibitionists. Sometimes they can look like extroverts because of all the bluster and overblown "personality" they exhibit in a group of fellow actors. Some actors are classic introverts though, like Robert De Niro. Don't worry about it. The only thing you need to worry about is the play, and specifically your scenes, and your actions within the scenes.
posted by wabbittwax at 7:10 AM on September 29, 2013
"Introverted" means you process internally rather than socially. It has no necessary correlation with shyness or lacking self-confidence (which seem to be your real problems in this case). But still, if you do meet that definition, then allow yourself time, out of the action, to really think through the character on your own. Make internal notes, think through every possible angles for every possible moment until you arrive at what makes sense. How is Lennox powerful or confident at this instant in the play? think through entirely what that would feel, sound, look like until you can create it on your own. Over-prepare, instead of wishing you we're spontaneous. Have a deep internal well to draw on.
This doesn't mean that Lennox will come across as shy or "weedy." A really powerful warrior could also be internal.
posted by argybarg at 7:35 AM on September 29, 2013 [1 favorite]
This doesn't mean that Lennox will come across as shy or "weedy." A really powerful warrior could also be internal.
posted by argybarg at 7:35 AM on September 29, 2013 [1 favorite]
It is not the same time period obviously, but the the TV series Band of Brothers shows a whole lot of soldiers with a lot of different personality types (and thus actors and acting choices), and also meditates a bit on what a makes a good soldier. You might check it out to get some ideas. There are several introvert soldier characters in the bunch of soldiers, as in life.
posted by gudrun at 8:01 AM on September 29, 2013
posted by gudrun at 8:01 AM on September 29, 2013
> I'm basically the only introvert in a production full of extroverts. Moreover, all of them seem to know each other pretty well. I'm worried that the cast and crew think of me as a weirdo loner. Is this likely?
Who knows. Maybe, maybe not. If they do think this, it's fixable, now or later.
I suspect this is the root of your anxiety. Take little steps to interact more with the rest of the production, even if it's just saying hi or a throwaway remark about the weather. I agree with the other poster that these folks are not as tight and similar as you feel like they are.
> As someone who considers themselves an introvert (unless I've known someone for a long time, really, I'm pretty shy and quiet), should I have taken the part?
I think so. I'm an introvert, but I got a lot out of doing kids' theater in my early teens.
> The director seems pretty no-nonsense, and I'm not sure how well they'd respond to me telling them about my anxieties. We are, after all, almost two months into rehearsals. The performances are in mid-late November. Should I talk to the director? Should I ask to quit? Should I talk to the director and then, depending, ask to quit?
Are you able to deliver your lines audibly and intelligibly? If so, I suspect you are already carrying your weight for local theater. (You certainly would be around here.) Lennox is a minor role. If you're audible and you remember your lines, you done good.
If you want to get into the character more, practice at home, alone or with a reading partner, and try out some different things. Like the other person said, there's lots of different inflections you could put on this role, if you want to get into it more. But you're going to want to find the voice yourself before you try it out at rehearsal.
posted by mattu at 8:30 AM on September 29, 2013 [1 favorite]
Who knows. Maybe, maybe not. If they do think this, it's fixable, now or later.
I suspect this is the root of your anxiety. Take little steps to interact more with the rest of the production, even if it's just saying hi or a throwaway remark about the weather. I agree with the other poster that these folks are not as tight and similar as you feel like they are.
> As someone who considers themselves an introvert (unless I've known someone for a long time, really, I'm pretty shy and quiet), should I have taken the part?
I think so. I'm an introvert, but I got a lot out of doing kids' theater in my early teens.
> The director seems pretty no-nonsense, and I'm not sure how well they'd respond to me telling them about my anxieties. We are, after all, almost two months into rehearsals. The performances are in mid-late November. Should I talk to the director? Should I ask to quit? Should I talk to the director and then, depending, ask to quit?
Are you able to deliver your lines audibly and intelligibly? If so, I suspect you are already carrying your weight for local theater. (You certainly would be around here.) Lennox is a minor role. If you're audible and you remember your lines, you done good.
If you want to get into the character more, practice at home, alone or with a reading partner, and try out some different things. Like the other person said, there's lots of different inflections you could put on this role, if you want to get into it more. But you're going to want to find the voice yourself before you try it out at rehearsal.
posted by mattu at 8:30 AM on September 29, 2013 [1 favorite]
Here's your chance to slip out of your own persona and try out a mask. There's nothing like a mask for giving you confidence. Imagine you're "playing" Lennox in a videogame. It doesn't matter what happens while you're Lennox: your own identity is stowed away and you can try out a new one.
Every introvert has a little streak of exhibitionism. Every man must have wondered what it's like to be a soldier. Here's your chance to use the hidden parts of your personality. It's incredibly sexy. Think Heisenberg.
posted by Grunyon at 8:50 AM on September 29, 2013
Every introvert has a little streak of exhibitionism. Every man must have wondered what it's like to be a soldier. Here's your chance to use the hidden parts of your personality. It's incredibly sexy. Think Heisenberg.
posted by Grunyon at 8:50 AM on September 29, 2013
Play him as an introvert. A man of few words, if you will.
posted by Ironmouth at 8:58 AM on September 29, 2013
posted by Ironmouth at 8:58 AM on September 29, 2013
Don't quit. You can do it, and once it's all over you will have gained some valuable tools and skills.
This might set some actors on edge, but you should consider adding an "outside-in" aspect to your approach. That is, by adopting external aspects of the character you can see how they feel, and that will help internalize those aspects.
I was in an acting class where we were doing monologs. I was doing a speech from MacBeth, and on performance day I wore a pair of motorcycle boots that added an inch and a half to my height, and made me feel like no one could knock me over if they tried. In other words, the physical feeling they gave me inspired a sense of confidence, which is an important aspect of that character (okay, he does journey through doubt in that play, but he didn't get to be a favored thane without a healthy dose of self-confidence). The instructor and other students remarked at how vibrant my performance was compared to other pieces I had performed. I wore the same boots for a Shepard monolog. My teacher ended up calling the boots my "Shakespeare shit-kickers." I'm being totally serious when I say, get yourself some character boots.
There are other things you can do. Posture - how does Lennox stand, walk, carry himself? What does he wear? How do those clothes feel on him? Does he have any talismans or secret objects he carries with him? (Choose yes... decide what it is, imbue it with the meaning it has for him, then carry that with you in your pocket. Don't share it with anyone.) A lot of actors feel like the only method that's valid is to work from the inside out, but hey, if it works for you and helps you develop a performance, nobody in the audience will care how you got there.
To make the character more real for yourself you can invent backstory (it doesn't really matter if it matches what's in the text, it's only for you and you don't have to share it). You can also give yourself secrets - things Lennox knows that no-one else does. This can help develop the good kind of tension in interacting with other actors.
Practice being bigger in private. Practice your lines out loud with the idea that you need to be heard in the next room, without sounding like you're shouting.
The other thing you really should do to get some confidence, if you haven't already, is to be totally solid on your lines and your blocking. You are in complete control of that, and it is the number one thing you can do to free up some mental space for other aspects of character development.
There are directors who feel they shouldn't need to help individual actors out very much, but most directors I've met really appreciate actors seeking help developing a character. You'll have to decide which camp your director falls into, but unless he or she is super-busy my guess is they'll want to help. You have plenty of time left.
posted by under_petticoat_rule at 9:46 AM on September 29, 2013 [1 favorite]
This might set some actors on edge, but you should consider adding an "outside-in" aspect to your approach. That is, by adopting external aspects of the character you can see how they feel, and that will help internalize those aspects.
I was in an acting class where we were doing monologs. I was doing a speech from MacBeth, and on performance day I wore a pair of motorcycle boots that added an inch and a half to my height, and made me feel like no one could knock me over if they tried. In other words, the physical feeling they gave me inspired a sense of confidence, which is an important aspect of that character (okay, he does journey through doubt in that play, but he didn't get to be a favored thane without a healthy dose of self-confidence). The instructor and other students remarked at how vibrant my performance was compared to other pieces I had performed. I wore the same boots for a Shepard monolog. My teacher ended up calling the boots my "Shakespeare shit-kickers." I'm being totally serious when I say, get yourself some character boots.
There are other things you can do. Posture - how does Lennox stand, walk, carry himself? What does he wear? How do those clothes feel on him? Does he have any talismans or secret objects he carries with him? (Choose yes... decide what it is, imbue it with the meaning it has for him, then carry that with you in your pocket. Don't share it with anyone.) A lot of actors feel like the only method that's valid is to work from the inside out, but hey, if it works for you and helps you develop a performance, nobody in the audience will care how you got there.
To make the character more real for yourself you can invent backstory (it doesn't really matter if it matches what's in the text, it's only for you and you don't have to share it). You can also give yourself secrets - things Lennox knows that no-one else does. This can help develop the good kind of tension in interacting with other actors.
Practice being bigger in private. Practice your lines out loud with the idea that you need to be heard in the next room, without sounding like you're shouting.
The other thing you really should do to get some confidence, if you haven't already, is to be totally solid on your lines and your blocking. You are in complete control of that, and it is the number one thing you can do to free up some mental space for other aspects of character development.
There are directors who feel they shouldn't need to help individual actors out very much, but most directors I've met really appreciate actors seeking help developing a character. You'll have to decide which camp your director falls into, but unless he or she is super-busy my guess is they'll want to help. You have plenty of time left.
posted by under_petticoat_rule at 9:46 AM on September 29, 2013 [1 favorite]
How can I get inside Lennox's head? Reading material, videos, general advice really really really appreciated.
Have you interpreted all your lines and the lines of your scene partners? Have you scanned the text? If not, I think it's worth doing that research.
I'm worried that the cast and crew think of me as a weirdo loner. Is this likely?
No. And even if they do, it doesn't matter. I've crewed a number of community productions. From my experience, everyone involved understood that actors have their own approaches/needs/behaviors/etc. We didn't even think to pass judgement on anyone unless they acted like a diva and were maliciously or self-centeredly destructive to the company. Being courteous and prepared (as under_petticoat_rule said, nail your lines and blocking) earns you respect.
Should I talk to the director?
Probably. Also, check in with your scene partners. There are a lot of boundaries in theater: when stage managing, I never comment on an actor's performance other than to correct lines or blocking. Actors shouldn't give each other unsolicited notes. But you can break the barrier on your side and ask for help.
Remember, everyone there wants this to be a good show. They're rooting for you to do well.
posted by JackBurden at 10:34 AM on September 29, 2013
Have you interpreted all your lines and the lines of your scene partners? Have you scanned the text? If not, I think it's worth doing that research.
I'm worried that the cast and crew think of me as a weirdo loner. Is this likely?
No. And even if they do, it doesn't matter. I've crewed a number of community productions. From my experience, everyone involved understood that actors have their own approaches/needs/behaviors/etc. We didn't even think to pass judgement on anyone unless they acted like a diva and were maliciously or self-centeredly destructive to the company. Being courteous and prepared (as under_petticoat_rule said, nail your lines and blocking) earns you respect.
Should I talk to the director?
Probably. Also, check in with your scene partners. There are a lot of boundaries in theater: when stage managing, I never comment on an actor's performance other than to correct lines or blocking. Actors shouldn't give each other unsolicited notes. But you can break the barrier on your side and ask for help.
Remember, everyone there wants this to be a good show. They're rooting for you to do well.
posted by JackBurden at 10:34 AM on September 29, 2013
My answer above may have seemed a bit glib, so let me say a bit more.
If you are the kind of person who gets lost in your head, as I am, it's easy to overcomplicate acting. But the audience doesn't see any of the thoughts that are going on in your head.
So, simplify. Say the words, and do the actions. Everything else will take care of itself.
posted by wittgenstein at 12:26 PM on September 29, 2013
If you are the kind of person who gets lost in your head, as I am, it's easy to overcomplicate acting. But the audience doesn't see any of the thoughts that are going on in your head.
So, simplify. Say the words, and do the actions. Everything else will take care of itself.
posted by wittgenstein at 12:26 PM on September 29, 2013
Don't give up!
Acting is a strange and confusing world, and it's easy to get caught in a weird emotional loop. I'll second the recommendation for "Practical Handbook for the Actor" and I'd also encourage you to buy and read The Actor and the Target, it will walk you through many of the common fears and confusing aspects of approaching a role. Both of these books stress the idea that your main job as an actor is not "show emotions" but help get you more comfortable with the idea of being yourself onstage. In general, to get inside a character's head, I find it easier to spend time imagining the world of the play, and understanding the character's relationships within that world, so that when you're onstage, you're seeing the world through their eyes.
Regarding talking to the director; it's always a good idea to have an open communication with a director. If the director is "no-nonsense" and you haven't gotten much feedback, it probably means that you're doing a GOOD job. Most directors are so busy trying to fix the myriad problems that come up in a show that if someone is doing a good job, they'll get ignored while the director focuses on the things that aren't right.
I'd say that the best way to approach the director would be to wait for a break, and try to catch them before they rush out the door to smoke their cigarettes, and say something like, "I just wanted to check in, and see if there's anything in particular that I should be focusing on" and then listen carefully. Focus more on what the director wants you to do than worrying about whether or not you are "too introverted" and relax. Theater is fun!
posted by geryon at 7:38 PM on September 29, 2013
Acting is a strange and confusing world, and it's easy to get caught in a weird emotional loop. I'll second the recommendation for "Practical Handbook for the Actor" and I'd also encourage you to buy and read The Actor and the Target, it will walk you through many of the common fears and confusing aspects of approaching a role. Both of these books stress the idea that your main job as an actor is not "show emotions" but help get you more comfortable with the idea of being yourself onstage. In general, to get inside a character's head, I find it easier to spend time imagining the world of the play, and understanding the character's relationships within that world, so that when you're onstage, you're seeing the world through their eyes.
Regarding talking to the director; it's always a good idea to have an open communication with a director. If the director is "no-nonsense" and you haven't gotten much feedback, it probably means that you're doing a GOOD job. Most directors are so busy trying to fix the myriad problems that come up in a show that if someone is doing a good job, they'll get ignored while the director focuses on the things that aren't right.
I'd say that the best way to approach the director would be to wait for a break, and try to catch them before they rush out the door to smoke their cigarettes, and say something like, "I just wanted to check in, and see if there's anything in particular that I should be focusing on" and then listen carefully. Focus more on what the director wants you to do than worrying about whether or not you are "too introverted" and relax. Theater is fun!
posted by geryon at 7:38 PM on September 29, 2013
You are worrying about this too much. Take Sir Ian's advice. Also remember that with Shakespeare, the most important thing is being able to say the words so that they are meaningful and also musical. Spend time feeling for the rhythm within the words. If you can speak properly, the rest will follow.
posted by Acheman at 4:08 AM on September 30, 2013
posted by Acheman at 4:08 AM on September 30, 2013
If you were doing something the director didn't like she would tell you. Also, nobody is thinking you're a weirdo. To the extent that you're not chatting etc. they probably aren't thinking about you at all.
Faking It was a reality TV show where people had 4 weeks to master a set of skills that would transform them into a completely different profession than they were used to being. The challenge at the end of 4-weeks-training was to fool experts in a professional setting. There was the punk singer who competed as an orchestral conducter, the woman who became a burlesque dancer, the working class woman who was introduced as a land-owning aristocrat, and the gay land-owning posh boy who had to fake it as a doorman. The episode is called Alex the Animal. I hope you can watch it in your country because it's very instructive (and funny, and touching.) Also, some of the transformations in Faking It! happened with really shy, introverted people successfully doing something very different. Here is the Channel 4 webpage in case Youtube is restricted by country.
He was coached in things like body-language, eye-contact, verbal behaviour - how to look tough and competent. If you are thinking about body-language etc for your seasoned soldier you might find some tips here.
posted by glasseyes at 8:49 AM on September 30, 2013 [2 favorites]
Faking It was a reality TV show where people had 4 weeks to master a set of skills that would transform them into a completely different profession than they were used to being. The challenge at the end of 4-weeks-training was to fool experts in a professional setting. There was the punk singer who competed as an orchestral conducter, the woman who became a burlesque dancer, the working class woman who was introduced as a land-owning aristocrat, and the gay land-owning posh boy who had to fake it as a doorman. The episode is called Alex the Animal. I hope you can watch it in your country because it's very instructive (and funny, and touching.) Also, some of the transformations in Faking It! happened with really shy, introverted people successfully doing something very different. Here is the Channel 4 webpage in case Youtube is restricted by country.
He was coached in things like body-language, eye-contact, verbal behaviour - how to look tough and competent. If you are thinking about body-language etc for your seasoned soldier you might find some tips here.
posted by glasseyes at 8:49 AM on September 30, 2013 [2 favorites]
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Introverts can make great actors because they spend a lot of time thinking about how people work. Because we are so in tune with ourselves, we understand what motivates people. I would approach it from this angle rather than viewing your introversion as somehow an impediment to acting.
I'm worried that the cast and crew think of me as a weirdo loner. Is this likely?
You need to stop even thinking about that.
posted by Librarypt at 6:58 AM on September 29, 2013 [3 favorites]