I’m sorry but I’m finding this way too intellectual for me. It would put me in my head and also so many male examples, how about throwing in some female scenes once in a while?
Absolutely true. In class I talk endlessly of Merritt Weaver, Viola Davis, Cherry Jones, Lena Dunham, Julianne Moore, Camille Cottin, Laura Linney and many more. I will post more. Thank you.
As for intellectual. Acting is there things: the INTELLECTUAL, the EMOTIONAL, and the ACTUAL. Like three engines that need to fire at full speed always. It sound intellectual because it's out of context of the actions of the scene and the emotional fuel. My experience as a teacher is that actors who fear the intellectual are really suffering from an inability to "let go" and surrender to the scene at action (or places).
@@TheActorsFoundryOnline Rest assured, I don’t “fear“ the intellect but… As an actor I’ve had to spend a lot of training years getting “out of my head“ in order to access the deeper instinct and emotions that make up what you refer to as the energy or electricity that’s beneath the surface. I hope you know what I’m talking about…
@@patrizia1029 I certainly do. And I think you are confusing conversations. "Getting Out Of Your Head" is the process of Surrender...letting go...falling into the flow, and being connected to the other. That is a different process than the intellectual analysis of the scene. They are BOTH profoundly important. Acting is about leaning into both, separately, and the ability to not mix them. At the Playhouse with Meisner, we spent many years training the "getting out of the head" BUT at the sacrifice and neglect of the MAKING SNESe of the work, the intellectual part. They are not in competition: they are mutual key components. It's knowing how to keep them separate in the rehearsal process that makes a formidable actor. An "uneducated instinct" leads the actor away from the character and scene.
Patrizia: I am enjoying this discussion. I hope to put it into practice with you someday. Would you do me a favour and watch the "Making IT" talk...I walk through this whole philosophy. It's worth it: ruclips.net/video/dosw5MZgyeQ/видео.html
I love so much Matt's work.. 😊 The actors in these scenes were awesome and help a lot to 'feel' Matt's words in action!!
Love from Greece 🇬🇷 ..
Thanks!!! There are several actors from Greece on the Campus at www.actorsfoundryonline.com
how to practise stillness in acting while memorizing a text and scene
This was very helpfull..keep making more videos!
Most definitely! And you can see HUNDREDS of videos, webinars, and talks at www.actorsfoundryonline.com
is there a reason the phillip seymour hoffman scene did not play?
RUclips edited it out for copyright reasons. The full webinar talk is on The Actor's Campus: www.actorsfoundryonline.com
You have to feel it..be in the moment even improvise..
Thank you
More coming!
Why don’t U have respect for Nicolas Cage or Keanu Reeves? That’s a lot of 💩talking. Where can I see Ur work?🤓
I’m sorry but I’m finding this way too intellectual for me. It would put me in my head and also so many male examples, how about throwing in some female scenes once in a while?
Absolutely true. In class I talk endlessly of Merritt Weaver, Viola Davis, Cherry Jones, Lena Dunham, Julianne Moore, Camille Cottin, Laura Linney and many more. I will post more. Thank you.
As for intellectual. Acting is there things: the INTELLECTUAL, the EMOTIONAL, and the ACTUAL. Like three engines that need to fire at full speed always. It sound intellectual because it's out of context of the actions of the scene and the emotional fuel. My experience as a teacher is that actors who fear the intellectual are really suffering from an inability to "let go" and surrender to the scene at action (or places).
@@TheActorsFoundryOnline Rest assured, I don’t “fear“ the intellect but… As an actor I’ve had to spend a lot of training years getting “out of my head“ in order to access the deeper instinct and emotions that make up what you refer to as the energy or electricity that’s beneath the surface. I hope you know what I’m talking about…
@@patrizia1029 I certainly do. And I think you are confusing conversations. "Getting Out Of Your Head" is the process of Surrender...letting go...falling into the flow, and being connected to the other. That is a different process than the intellectual analysis of the scene. They are BOTH profoundly important. Acting is about leaning into both, separately, and the ability to not mix them. At the Playhouse with Meisner, we spent many years training the "getting out of the head" BUT at the sacrifice and neglect of the MAKING SNESe of the work, the intellectual part. They are not in competition: they are mutual key components. It's knowing how to keep them separate in the rehearsal process that makes a formidable actor. An "uneducated instinct" leads the actor away from the character and scene.
Patrizia: I am enjoying this discussion. I hope to put it into practice with you someday. Would you do me a favour and watch the "Making IT" talk...I walk through this whole philosophy. It's worth it: ruclips.net/video/dosw5MZgyeQ/видео.html