uch comment is made in acting process on the subject of focus and concentration. It is an obvious inclusion in the list of qualities an actor should posses when applying craft. As the antithesis of concentration is surely not helpful to a craft  requiring such endurance, flexibility and reactivity.

The key question is not so much that concentration is required but what should the subject or area of concentration be.

Often the key difficulty or first obstacle to an actor is themselves. Some actors are born with very little self consciousness but for most of us it is an obstacle that must continually be surmounted. In the face of judgement, criticism, evaluation, disapproval and rejection, actors must appear to behave as if these things either do not exist or do not affect them. Yet we all know how frail we can be at times in the face of such obstacles.

So what are the actor’s weapons against these obstacles. There are many and we should discuss them all, but I want to look at  “concentration” or “involvement”.

As a father who can at times be inundated with requests and comments from my children I know that sometimes I will be aware that I have been concentrating so completely on the news program on TV that I have not heard a thing that is being said to me. I will then have to ask that it be repeated. At these times I get a very clear picture on my ability to concentrate on receiving a certain stimulus while not letting other input interfere with my concentration. In one sense I have used my “will” to filter out the unwanted distraction. Leaving my parenting skills aside this is a very good example of what an actor is striving for when involved in the moment of the play, not wanting to be distracted by the unwanted.

The unwanted stimuli can so often be what is going on inside the head of the actor.

Usually the unwanted are distractions based in fear of the obstacles mentioned above.

As an actor I might become concerned with my appearance, the sound of my voice, worry about lines, an overwhelming desire for approval or acceptance, preparation of what is about to occur, concern for the opinion of the director… it goes on and on.

All these are natural and understandable however they can become part of the limitation we strive so fervently to overcome.

Lets call these limitations – “instrumental tension” and understand and accept that firstly they are natural and secondly, completely surmountable.

There are three pillars to the process of overcoming “instrumental tension”:

Security of Process. Naming and Exposing. Involvement (concentration).

I want to discuss the latter here. First a brief explanation of the other two;

Security of Process refers to both the rehearsal process and the process of application in performance. It’s a bit like the feeling of having done all your homework when you go to class, or walking into an exam knowing that you have studied well.

Our football coach used to say, “…train hard play hard, train well play well…”, it’s a bit the same for an actor.

Naming and Exposing refers to an endless number of exercises that are principally based on creating awareness. Awareness of self, of now, of fear, of the instrument.

Awareness work strengthens a connection to our humanity and our receptivity.

Now to the subject of what it is that the actor should be concentrating on.

I separate where my focus should fall into two categories; imaginary stimulus (my imagination, sense memory) and available stimulus (what the other actor/s are giving me, my environment, the clothes I’m wearing etc). They do not operate independantly but are always working together in everchanging ratios.

If I connect with my environment, the other actor/s and what it is I am doing, I use my will to go beyond the surface, I am commiting to an exchange of energy that transfers itself to a deeper level of involvement. If I connect to my imagination I can begin to react from stimuli that are not completely present in the real sense but contribute greatly to the life of the role I am playing.

I want to achieve an uncensored and impulsive chain of responses in my work while meeting the obligations required by author, director and stage manager. I cannot be completely absorbed with instructions such as …”move downstage into the blue light after exclaiming, alas poor Yorick”… or my concern to reach the audience with my voice and emotions as I will disconnect from the immediate level of involvement with the stimuli that enables me to play each moment with the depth I have found in rehearsal.

I need to be aware of the practical requirements but not make them the primary level of involvement. Part of my craft is to intuitively ascertain an order of involvement that best enables me to play the moment truthfully and completely while fulfilling all the obligations of text and director.

If I become aware that I am working in fear of some sort, I need to address this first as I am more involved with controlling the fear than I am with playing my part.

If I become aware that I am working for approval, I need to address this as I am more involved with what others are thinking than I am with playing my part.

If I become aware that I am working with inner criticism, I need to name and expose this as I am more involved with listening to the inner voice than I am with playing my part.

If I become aware that I am acting only from the instruction of the director, I need to address this as my motivation is only to please the director.

Therefore once I have taken steps to truthfully address these areas and others like them, I can continue to overcome feelings of self doubt, distractions and unwanted stimuli by involving myself in the stimuli I choose to use to assist the performance.

I can re-involve myself with my fellow actor/s. I can substitute an image using sense memory. I can absorb myself in the imaginative world. I can create need and meaning, striving with complete conviction to overcome the obstacles that other characters or circumstances within the story have put in my way.

What comes first, the chicken or the egg? Perhaps they come together!

How do I create the order of levels of involvement?

I don’t think they are a fixed thing at all, rather, an awareness that place the stimuli I need to affect my performance way above those that hinder the performance. I strive for the consciousness that monitors itself and regulates between that which is helpful and that which is distracting and thereby develop the skill of trusting my choices.

I begin to trust my ability to create and react from the selected stimuli.

My involvement and re-involvement with the helpful stimuli frees me from self-conscious behaviour.

I put my attention into the other: the other is of course the helpful stimuli. Most often this can simply be what the other actor is already giving me. 

© 2001 Martin Challis

Martin Challis is a working actor,
director, and acting teacher, all while
hanging upside down in Australia

© 2000-2001 Aviar-DKA Ltd. All rights reserved (including authors’ and individual copyrights are indicated). No part of this material may be reproduced, translated, transmitted, framed or stored in a retrieval system for public or private use without the written  permission of the publisher and the individual copyright holder. For permissions, contact publishers@scene4.com.