Acting

There are countless books on acting. Everyone has their own theories and systems. But how does the 21st Century, Indie Theatre actor tackle a role? Here's what some of the working actors we most respect had to say when we asked them the question:

How do you prepare for a role?

Daniel Talbott: "I wish I was better at answering this question but the thing I find most helpful for me to begin working on a play is to try to read it as many times as I can and ask as many questions as possible before going into rehearsal. I try to figure out as much as I can about the world of the play, the other characters in it, and the given circumstances for all of us based on what’s written. I try to be as full and inspired as possible and have ideas and choices and questions to bring to the table on the first day, and at the same time always try to make sure I haven’t made anything truly concrete yet cause I don’t think the work can really happen without everyone else in the room. You may come up with the most brilliant physical characterization in the history of theatre but if it has nothing to do with what the rest of the cast and the director and playwright and designers are trying to work on in telling the story of the play it really doesn’t matter. I read somewhere once that great acting is like walking a tightrope or plate spinning. I guess I try to know as much as I can and be in the best shape possible—spiritually, emotionally, physically—as an artist to try to start learning how to walk that specific rope or spin the particular plates that the play I’m working on requires. For me all the preparation you do on the outside is about making it possible to come to the rehearsal room excited, open, positive; with ideas, choices, and confidence to be able to be a brave and risk-taking part of the ensemble, because for me there’s no play and no theatre without the other folks in the room." http://www.risingphoenixrep.org/


Daniella Rabbani: "I start with the text which is great when you're working with a good writer and a little tricky when you're not. But judging the writing is not my job, so before anything, I trust the writer, director, other actors, and myself. Which sounds a lot easier said than done. So when I read the text, I'm looking for clues about the character and the given circumstance which informs my physical choices. Where I hold tension, weight or energy. I try to improvise in that new body in rehearsal and then get off book as soon as possible. Walk down the street speaking my lines, dream about moments that could be better, and generally obsessing." http://www.daniellarabbani.com/


Michael Criscuolo: "First, I read the play once, maybe twice, to determine the story, where my character fits into it, and to get a sense of the relationships between my character and all the others."

"Then I start going through all of my character's scenes one by one to figure out what my character wants (i.e. their intention) and how they're going to get it (i.e. their activity). Those two things are my anchors throughout rehearsals. If I run into trouble at any point, I re-examine/tighten/clarify the ol' intention-and-activity game plan, and that usually takes care of things."

"I'm also a fan of what others might call more "external" facets of acting: characterization conveyed through voice, body language, appearance, etc., and how one's intention influences those things and vice versa. Often times if I get stuck or want to figure out a new way to develop a character, I imagine how another actor might play my role. For instance, I just finished playing Lopakhin in The Ninja Cherry Orchard at The Brick Theater. This is a character who's gone from being a peasant to a wealthy merchant. I had no idea what that meant in terms of actualizing the role in a flesh-and-blood way, but I remembered that Brian Dennehy had once played this part for Peter Brook. So I started thinking about how he would do it. Well, for one thing Dennehy wouldn't put on any airs. Everything would be very straightforward with no frills, because he's a very salt-of-the-earth type of guy. And once I started thinking about Lopakhin that way, it became much easier to figure out how he would pursue his intention and react to certain other things in the play."


Adam Lerman: "Every character is different, and often the way that I approach the role tends to work alongside how the director is approaching the play. That may sound obvious, but if we're mining the text at the top of the process, then the dramaturgical work will come in first. Sometimes the director and I will talk about other actors or characters as references, but sometimes the characters come from notions in the text, or physical work, exercises, etc... Sometimes the character will remind me of someone in my own life, and I'll blend that person(s) with myself and other sources. The possibilities are endless."

"One of the challenges I battle with the most is avoiding my go-to tricks and old habits. People-watching tends to alleviate those issues, because in impersonating other bodies outside my own, I find I immediately depart from my natural muscular patterns (which can make for some uncomfortable and awkward postures and walks). And additionally, once the text has really been analyzed and the intentions are evident, the clarity of the character starts to really shine through, my obligation is to use those mental, emotional and physical tools to just honor those things." http://www.thisisadamlerman.com/