QUOTE OF MONTH: “There is no character. There are only lines upon a page.” ~ David Mamet
NOW TAKING ENROLMENTS FOR NEW TERM.
*For more information regarding all classes please contact – Sophie Sardi:
9432-3062 0419 539030 or email: email@example.com
Thanks to Sandra Sdraulig – Host of
Friday’s On My Mind – for inviting me to speak at ACMI;
And to all the folks who came along on the day.
|If you were unable to attend ACMI
on this day; You can hear part of a
RADIO INTERVIEW (play above)
I gave recently which covered many of the topics discussed at ACMI.
Q? WHAT DOES IS MEAN TO GET INTO CHARACTER? The whole question on “character” is an interesting one. (Orson Welles blurb on character is a good guide to ‘what character actually is’.) A lot of so-called character actors on the screen, in my opinion, give ‘caricature’ performances. David Mamet went as far as to say that Laurence Oliver was a terrible film actor because his characters were ‘over-acted’ for the camera. The challenge for the actor in creating ‘character’ is to make the character human and believable, and for the actor to not draw attention to himself while performing. If the actor does draw attention to himself the audience may applaud the actor’s expertise and be mesmerized by the actor’s ability, but this attention on the actor in this way takes the audience away from the play/story. As Shakespeare said: “The Play’s The Thing.” The actor is there to serve the play/script not to serve him-self. CHARACTER – The actor’s ability to keep away from the trap of falling into caricature begins with the actor’s interpretation and understanding of what ‘character’ actually is in performance. As an actor there are specific elements that need to be addressed and taken care of, such as ‘accents’, the way the character walks, talks, sits, stands. These of course are what I call the ‘externals’ of character and most important, but here’s the trap, the misunderstanding: When character is built on these ‘external’ characteristics alone. When we as actors approach a role in this away, and believe that these well executed externals alone create ‘character’ we rob our ‘character’ of a fundamental element: The element of HUMANITY. These externals are important and essential to creating ‘character’ but not at the expense of the humanity of the character. The original question: “What does it mean to get into character?” Maybe phrased incorrectly. I feel: “What does it mean for the character to get into YOU?” – Is more accurate. … Peter Sardi