Life in Acting - Acting in Life

To embrace new awareness we practice acceptance.

When we practice acceptance we immediately create possibility for growth.
Acceptance is feminine in nature; it implies receptivity. It requires kindness and understanding towards oneself and in turn, towards others. To practise acceptance is to embrace possibility and to allow space for further growth and deeper understanding. Acceptance is fundamental to open mindedness.

Becoming aware and accepting aspects of ourselves that we do not enjoy, requires courage and strength. When the aspects that we do not enjoy about ourselves are accepted they are able to be understood and in time, released.

Once released, the space created is replenished by elements of a more positive nature. For example; if we discover we are very intolerant of certain behaviours and through a process of self examination become aware that we ourself practice these behaviours, once accepted, this allows us to transcend and replace the unacceptable with the acceptable or the inhibitive with the productive.

If we resist new awareness we apply a hand brake to evolution. Resistance of new awareness is an attempt to regain un-awareness, which is not possible. Judgment or self criticism stemming from new awareness is counter productive to growth and neutralises possibility. Therefore to practice acceptance becomes a pre-requisite to the actor’s instrumental growth.

Sometimes we find ourselves in reaction, out of hurt we say words in anger which in turn hurt another and so on. We come away from this event with self criticism and dis-ease over our behaviour. The more quickly we can come to accepting this behaviour the more quickly we can begin to learn from it. Beginning a process of letting go and working on the possibility of not reacting to similar situations in the future.

Practicing acceptance is fundamental to the philosophy of “Life in Acting: Acting in Life”. To practice acceptance is to create room for growth, is to embrace the possibility of change, is to allow new knowledge to contribute to a strengthening process of self awareness and self identity. It is essential if we are to remain open to receive. The more we strengthen our self identity the more we come to understand the universal identity. Acceptance is an essential element in the learning process.

Our developing philosophy embraces a commitment to the expansion of self awareness. As we become more aware of ourselves and of the human experience we become better equipped to convey and communicate story. Growth of self awareness as a natural process can be consciously propelled and can also be consciously and unconsciously resited. Philosophically we recognise and respect both the desire for new awareness and the caution to new awareness that comes through resistance. We see this as life’s way of providing an accelerator and a brake for the car of learning.

When we exercise our will and express an eagerness to embrace change the search for greater self awareness becomes an exciting and rewarding journey. In some ways actors training with this philosophy also understand that they are pioneers for the human spirit, which inherently yearns to grow and embrace a greater truth.

As we grow our awareness we begin a strengthening process that equips us professionally and personally. The self awareness process is not only natural but also deeply satisfying. Sometimes things are discovered that challenge and confront, however as we practise the next part of our philosophy we also learn to accept these discoveries.

A commitment to the self awareness process reflects the artists passion to know more of life, to explore the macro and the microcosm of self and universe and to find it infinitely fascinating.

Developing a philosophy of actor training is an ongoing and evolutionary process. Ideas presented subjectively and objectively by all manner of professionals, teachers, trainers and coaches continue to circulate and provoke debate.

And so it is necessary to first articulate and develop a bedrock philosophy to actor training that seeks to be universalist and inclusivist in nature. A philosophy that works to acknowledge and respect the “work of the tribe”. It is necessary to seek out principles that are fundamental to the human experience. Principles that are by there nature, not divisive but rather represent open mindedness; principles that leave room for expansion and growth. It is important to express the understanding that life and acting are not separate or exclusive of one another, rather they are beautifully intertwined. When we examine our processes in acting craft or our attitudes to acting we realise that to work on one is to work on the other.

The philosophy behind the actor training being developed begins with a respect for the universality of the human experience and within this universality, the infinite uniqueness of the individual. Embracing the paradox of the “universality of uniqueness” is the first of many principles upon which this philosophy is built.

Within the human experience there exists fundamental and universal truths, the expression of these truths is in turn represented in a seemingly infinite number of ways. It is imperative that we develop both a respect for our individual uniqueness and the universality of the experience called Life. Wherever we look in Life there is an Acting lesson. Conversely wherever we look in Acting there is a Life lesson.

As an example: No matter how hard we try we can never make two moments in time exactly the same. We are always held in the moment of now, which is universally true. Every moment of human expression is uniquely different to the last moment in some way. Which is also universally true. A truth in Life is also a truth in Acting.

In creative expression we can sometimes attempt to force each moment to be a certain way and often become exhausted working against the very nature of life which does not allow us to control it. Rather, it waits to be discovered.

Gifford asked the question in response to my last entry: "So how do you relate this to creating an "inner Space" for yourself and your character and then extending it to a "world space" for the audience? It appears counter-productive."

It may appear counter-productive but it is not. It should be taken in the context of an organic and holistic approach. It is a beautiful question to ask. I feel it is the essential question in any true organic process. The short answer is probably - time. But it is more than that of course. Time, attention, a balance of direct and indirect action and possibly most importantly intuition. In essence the quality that Gifford is referring to is Presence. Being present with yourself, your attention and your process is the quality that facilitates the awareness, development and appreciation for this space.

More than that it is the understanding that relationships cannot exist without space. The space between things is as important as things themselves as it is the space between them that enables them. Objects, thoughts, images, people, planets, molecules are all non identifiable without the space that surrounds them. Space is a connecting tissue. It can be quiet and still or vast or brief or rushing through. And it is always connecting to an infinite. In our world, space is infinite and in itself a metaphor for eternalness as much as eternalness is a metaphor for space.

Creating and maintaining an inner space is a means of attending to the process at hand (in this case developing a character) and allowing this process to deepen, refine and attune us to the matter at hand. It is essentially a matter of allowing rather than making. Creating the inner space opens us to a collective unconscious space where we implicitly connect to that which is, and that which is more than we are. This is reflected in us as much as we are reflected in it.

From the inner space as it connects to the world space we witness and enjoy the creative process of that which was not made manifest become that which is. Hence the process of creativity. Hence the enjoyment of the creative space.

If someone asked you to break down acting to the simplest process possible, what would you say? I know Anthony Hopkins would pretty much say "just do it" (Nike style). An esteemed friend of mine would add something like: " yeah and work for about 30 years in the theatre, learn from the masters and then we'll talk" Some would recommend Acting School with a good teacher and others would say acting can't be taught.

What ever your view: let me try this simple four step process on you and see how you like it.

OK something like this: It comes in four stages, I'll call them: Sense. Choice. Other. Fight.

Let me explain:
Sense: this means "get a sense of it". Whatever it is and however many times you do it, you get a sense of the piece, the character, the situation. You don't need to spend hours and hours thinking and discussing about all the permutations and combinations - although I know that some discussion is often helpful. What I mean by get a sense is 'trust your sense' and 'trust your senses' - you're human. You're a sensitive, connected to the world person. When you read a piece for the first time you have a sense of it. When you rehearse a piece 20 times, each time you get a sense of it. And the 'sense' evolves and refines, if you let it. It's a kind of let it go - let it come, process. Getting a sense also means that your mind is open. You never fix on anything so that it can't evolve. Getting a sense also implies that you're using your limbic system and not just your neocortex; which indicates that you're open to your intuition and impulse as well as being able to rationalise. Getting a sense of something is also a way of keeping it available, just there in your attention without forcing answers and outcomes. It’s a flow state, it’s a touch not a grab. Staying in a state of "sensing" will mean that you are continually exploring material and possibilities which will naturally deliver a fair share of discoveries. All the more to get a sense of as you go along.

Next is Choice: Choice is a thing you make. You choose this or that. You choose to start behind the door - in front of the door, whatever. Choice is a starting point. Choice can be a chosen tactic or action - whatever your school. It can be a sense memory to get you in 'being state' of emotion. Choice can be action based. Emotion based. Choice can be psychological, methodological, practical, emotional, it doesn't matter. What does matter is that you make them and then you let them go. The thing to remember about a choice in Acting is that it does one thing and one thing only. It sets your direction. Think of it as a spring board as if you were a diver. You run along and bounce and up you go. You do your stuff in the air. As a diver if you were to hang on to the springboard things would get pretty messy. Same deal as an actor - if you hang on to your choice/s you get slapped. You get stuck. You certainly don't get to do any wonderful stuff in the air, which is of course where you want to be.

OK, next thing: Other. Other is any thing and any one outside of you. Most often it’s the other actor/s, and it can be a set of images and/or it can be the set, the view, the environment, the memory, the sound, the dagger you see before you. The other is what you're connected to, the other is your target. The other is what you want to get away from, or understand, or possess, or capture, or impress. It is the thing you have to let in. The thing or things you have to be involved in. The other gets you out and away from yourself, if you're with the other in terms of attention and focus, and in terms of involvement then you have no time to be self conscious or result conscious or controlling or worried about your performance. You are with 'the other'. And as it happens it makes you the best story teller because you're engaging and watchable.

Now the last of the four: Fight. What ever it is that you have a sense of, and whatever choice/s you make and whatever the other/s is/are that you're involved with - you have to make the next bit personal. By this I mean you have to 'feel' it to want it. You have to want it to need it, you have to need it to fight for it. Now I don't mean this completely literally. Because you can always fake it to feel it. Or if it’s something that really bites in the sensing, choosing and involving that you're doing you won't have to fake anything. Fighting for something refers to "personalising the need" (see: personalising the need).
It also takes care of what is often referred to as action and tactics - getting what you want. The point is of the character your playing doesn't want anything then they are either dead or shouldn't be in the play. If you're not fighting for something as the actor then you are probably not making very strong choices. Fighting is doing, is getting, is pursuing, is tactics, is struggling, is patience with attention, is action with consequence. Is all this and more

Applying these elements can happen each time we read a piece, rehearse a part, audition for a role or perform for an audience. In fact if these elements are not being applied either consciously or instinctively I'd be very surprised.

The final thing to say about these four elements is that they are just 'my way' of answering the question. What's yours?

Philosophicaly an actor commited to growth and learning, desires to expand self awareness. As we become more aware of ourselves and of the human experience we become more deeply equipped to convey and communicate story. Growth of self awareness is a natural process and can be consciously propelled as it can be consciously resisted. We recognise and respect both the desire for new awareness and the caution to new awareness, which can manifest as resistance in various forms and degrees of fear. This is life’s way of providing an accelerator and a brake to the car of learning. The drama of our daily lives plays out as we work to resolve polarities such as; desire and fear, yearning and trepidation, longing and caution; as we navigate our way through all these experiences we are presented with opportunites to learn. From a certain perspective we might even suggest that drama is learning.

When we exercise our will and express an eagerness to embrace change, the search for greater self awareness becomes an exciting and rewarding journey. In some ways actors can be pioneers for the human spirit as they make conscious forays into the human condition through their scripts and stories.

As we make a conscious commitment to grow our awareness we begin a strengthening process that equips us professionaly and personaly. The self awareness process is not only natural but also deeply satisfying. Sometimes things are discovered that challenge and confront, however as we practise acceptance our discoveries are made useful to us. A commitment to the self awareness process reflects the artist's passion to know more of life, to explore the macrocosm and the microcosm of self and universe and to find it infinitely fascinating.

To embrace each new awareness we need to practise acceptance.

When we practise acceptance we create possibility for growth. Acceptance implies receptivity. It requires kindness and understanding towards oneself and in turn, towards others. To practise acceptance is to embrace possibilty and to allow space for further growth and deeper understanding. Acceptance is fundamental to open mindedness.

Becoming aware and accepting aspects of ourselves that we do not enjoy, requires an act of courage and strength. When the aspects that we do not enjoy about ourselves are accepted they are able to be understood, used for our benefit and released.

Once released, the space created is replenished by elements of a more positive nature. For example; if we discover we are very intolerant of certain behaviours and through a process of self examination become aware that we ourself practise these behaviours, once accepted, this allows us to transcend and replace the unacceptable with the acceptable or the inhibitive with the productive.

If we resist new awareness we apply a hand brake to natural or organic evolution. How often do we say that we "know something is not good for us" but persist anyway? We feel the truth of these words intuitively but still carry on the same patterns of behaviour? Resistance of new awareness is an attempt to regain un-awareness, which is logically not possible. Judgement or self critisism stemming from new awareness is also counter productive to growth and neutralises possibility. To practise acceptance becomes a pre-requisite to the actor’s growth.

Sometimes we find ourselves in reaction, out of hurt we say words in anger which in turn hurt another and so on. Or we do something we regret and become hugely self critical. We come away from these events with self criticism and dis-ease over our behaviour. The more quickly we come to accept this behaviour the more quickly we can learn from it. Beginning a process of letting go and working on the possibilty of not reacting to similar situations in the future.

Practising acceptance is fundamental to the emerging philosphy. To practise acceptance is to create room for growth, is to embrace the possibilty of change, is to allow new knowledge to contribute to a strengthening process of self awareness and self identity. The more we strengthen our self identity the more we come to understand a universal identity. Practicing acceptance emerges an essential element in the learning process.

The subject of actor training is an ongoing and evolutionary process. Ideas presented subjectively and objectively by all manner of actors, professionals, teachers, trainers and coaches continue to circulate and provoke debate. To debate whether or not acting is a craft and whether or not it can be taught may be a distraction to a more central question: from what philosphical standpoint should actor training be based?

I feel it is an important and fundamental part of my work to develop a bedrock philosophy to actor training that is universalist and inclusivist in nature. A philosphy that works to acknowledge and respect the “work of the tribe”. One that might embrace principles that are fundamental to the human experience, principles that are not divisive but rather, ones that represent open mindedness leaving room for expansion and growth. It is necessary to express the understanding that life and acting are not separate; they are beautifully intertwined. When we examine our processes and attitudes towards Acting and our attitudes and ways of processing in Life, we realise that to work on one is to work on the other. Like all things they are connected. Hence the title of this blog: Life in Acting: Acting in Life.

The philosophy behind the actor training being developed begins with a respect for the universality of the human experience and within this universality the infinite uniqueness of the individual. Embracing the paradox of the “universality of uniqueness” is the first of many principles upon which this philosophy is built. Within the human experience there exists fundamental and universal truths, the expression of these truths is in turn represented in a seemingly infinite number of ways. It is imperative that we develop both a respect for our indivdual uniqueness and the universality of the experience called Life.

Forexample: no matter how hard we try we can never make two moments in time be exactly the same. We are always held in the moment of now, which is universaly true. Every moment of human expression is uniquely different to the last moment in some way. Which is also universaly true.

In creative expression we sometimes attempt to force each moment to be a certain way and often become exhausted working against the very nature of life which is not to be controled but rather exists to be discovered.

Recently I attended a memorial service for a friend and sailing companion I had known for several years. His name was Richard. He was one of those people that we sometimes have the good fortune to meet. Richard was a generous, welcoming and enthusiastic friend. He went to great efforts to be inclusive and considerate of other people’s needs and feelings. He was a great sailor and a great teacher. I would consider myself a passably fair novice yachtsman, and now when I venture forth on the waters of eastern Australia I often hear his words of wisdom guiding my sailing choices.

The experience of attending his service was full of sadness and joy. Sadness naturally at the loss of a friend and for others who would miss him dearly. Joy for the heart-felt stories that some of his friends shared as they stood before the assembled. As I sat and listened to the stories of Richard something profound occurred. I understood the power of story more than ever before. I realised I was getting to know more about Richard than I had ever known. The stories went back years before I had met him and encompassed his experiences with groups of his friends that I’d never met. As each story unfolded the picture of Richard grew and grew and I was introduced to a man of many talents: his appreciation for music, his unending positive approach to life, his ability to break down the inner workings of anything mechanical or electronic that took his fancy, has passion for racing cars, his love of the Whitsunday Islands, his sense of fun and play and mischievous approach to life and of course his enduring love for his wife and soul mate Deirdre.

Richard was revealed to me through story. Each story had Richard as its essential ingredient. Added to this were the different complexions of each story-teller’s experiences and ways of telling. The qualities common to each teller were love and care for their departed friend, a spirit of generosity and open-heartedness and a specific memory of a shared experience. Through these stories I received the essence of Richard, something for me to remember as much as I would remember my experiences with him.

These stories were precious gifts lovingly received and lovingly told. The power of story was evident. The experience visceral. My imagination was engaged and enlivened. I was transported to other times and places and watched the play unfold from the sideline – laughing and weeping in and with memories that would now become my own.

These stories were profoundly enriching. Far more complete than a list breaking down Richard’s qualities or activities could ever be. Just as it is with the separate pixels of an image or single words on a page or the individual ingredients of a meal, it is not until they are married together and we step back and savour the picture, the story or the meal, that we really experience the true nature of the whole.

The actor as a story teller plays her part in giving us the whole experience. To engage us and allow us to experience the story she must move beyond herself and enter the story she is telling. It is not about the actor in the story it is about the story in the actor.

Stories are window’s: they enable us to see out and they help us look in. The stories I heard that day of Richard certainly gave me that window – I see him now as I look out and I see myself as I look in. Joy and sadness are one and the story is told.