Technology and the Actor...

I've had this posting in my edit bay for sometime, but today's New York Times article (Fashion & Style section) provided me the kick in the ass I needed to post...

Keep Your Thumbs Still When I Talk to You - discusses how we, as a society, are becoming quite rude due to technology. It is a sad truth, we tolerate more and more; losing the ability to connect on that most primitive, intimate level. In fact, as I observe in my classes, that kind of connection is not only uncomfortable, but now completely foreign.

There is a cost in the acting world as well...the artistic one, too. Imagine an actor in a general or audition, and in middle of his or her conversation with the CD or director, the actor checks his or her hand-held. Brave choice, I guess...think they got the part? It has happened. And we know it happens the other way - It was not long ago that a tweeting scandal broke out when a prominent New York casting director was found to be tweeting not only during actor auditions, but also was commenting on their performance. Remember the debates? How did you feel?

Don't get me wrong, technology is pretty amazing! We have unprecedented access to information and entertainment. I know my train rides have become less arduous thanks to the numerous podcasts that I listen to, Angry Birds, and YouTube vids on my iPhone. It's all pretty astounding!

But there is a flip-side to that coin, especially for the Actor/Artist. I am falling victim to it myself...
We are slowly becoming less and less engaged with the world around us. We, as actors are at risk of numbing those senses and instincts we have trained and worked so hard to hone. We need to be open vessels - making available all our senses to take in and interpret (later) the world around us.

What scares me as a teacher (at several universities), I see the attention spans of our youth becoming shorter and shorter to almost nothing. Yes, I realize that I must adapt as an educator - I won't dispute that. But when the youth of today can't sit still for more than 20 minutes, or retain a bit of information given to them 15 minutes prior....there's a problem. Technology, in addition to the "Mtv" nation are contributing to these issues. What do I mean by that?
Watch a network television show: count the seconds between cuts.
Now watch any of the great films to come out of the 70's (yes, the 70's were good for something!). Notice the long, static shots - agreed, they might not be as exciting as the latest Michael Bay film. But each of of them is rife with something those films can't sustain for a scene - humanity. I think of The Deer Hunter, Deliverance, All the President's Men, Klute -the humanity depicted in these films is immeasurable. It is impossible to be without it on the stage.

All that aside however, for the actor, the cost for such technology goes much, much deeper. As is the goal of Uta Hagen's, Object Exercises; we, the actor have to maintain and sustain our sense of awareness and observation, both inward AND outward. Art and Acting require us to maintain and sustain consistent levels of concentration and focus that is slowly becoming more and more extinct.
A set of earbuds constantly attached to us provides a great risk to those disciplines.

We as artists, and actors must be in-tune to the world around us - for better or worse. BUT also we cannot  allow ourselves to be enslaved by it either.

Knowing when to say "when"

I recently had to make a tough decision:
I have resigned from a theater company with whom I worked for the past 18 months.

While this was a tremendously difficult choice, it was also a huge learning experience for me.

Why am I writing about this? No, not to gossip, dish, nor gripe. (I still wish the best for them, hope for their success and would welcome an invitation to work again)

No, I am writing because I learned quite a bit about not only what I can tolerate from people with whom I work, but also what I deserve as someone who works as hard as I do (yes, I'm giving myself that one - thank you!)

Without getting too juicy in the graphic details of what went on, and how I was led to my decision, the bottom line was - I didn't fit the mold they were trying to create. I am trying not to think of things in "right and wrong" because little growth comes from such narrow and close-minded thinking.

No, but as a company member, I realized quite quickly that there were fundamental differences, crevasses in philosophy and attitudes that could not be bridged. As a result, regular conflicts were occurring, mounting disappointments and frustrations built up, and friendships were being strained (perhaps beyond repair - that will be known as time passes).

Despite it all, work was getting done. However, being honest, the work was getting done on the backs of 4 core members. One can easily deduce, I was one of them - and it was getting tiring. I had reached my breaking point about a month before I took action.

Why had I stuck around?
2 reasons:

1) I had made a commitment to my friend and playwright, Wes. That wasn't so difficult as his play was a joy to live in.

2) Revelation! I remained involved with this group out of fear.

THIS is the reason for this post. My fear was based on, "Well, at least I'm working. I don't know when something else will come around."
Don't get me wrong, I did believe in the company. But at my core, in the face of my constant struggle within the company, the underlying drive that kept me there was the desire to work.

And there's the rub. In a subtle way, I was undervaluing my talent and abilities. That statement above carries with it the implication that I believed (this does not feel good to realize) that I was not going to have other opportunities to work.
No more.
Which is why I came to the conclusion that I did.

To all those out there who might be considering working with me - know this: in a working environment -
I am ABOUT the work.
I AM about the WORK.
I am ABOUT the work.

get it?

To me it is very simple, but to others, apparently, that attitude (or the perception of that) can be very unnerving.
Why?
Because apparently, the truth can get uncomfortable. That fact, coupled with the attitude (mine) that it is not our job to make people comfortable, can throw off the people who need constant assurance and validation. What do I mean? when I am around people with whom I work who either do not step up and do shit, or don't follow through on what they say they're gonna do...I am not going to tell them, "no problem, it's OK." Because it isn't. I will behave accordingly. Mind you, that does not mean that I am rude or discourteous - No, I always remain cordial... period. But no more. And it was that belief and behavior that caused me to be perceived as "negative."
It came down to very differing philosophies, not "right and wrong."
We tried to make it work. We couldn't.

In that environment, I no longer felt safe to fully express myself, or the freedom to be me as I constantly felt scrutinized. It was time to go.

Ironically enough, a day before I followed through on my decision, I was invited to be in another Theater Company.

Fate?

The Rehearsal Process...

I have observed in my years different actors tackle the rehearsal process in many different ways.

The one rule that we must adhere to is this: In Rehearsal (mind you)

No one cares about your process!


We, as actors, are tools of the theater, yes we are artists as well - but we must be mindful, or at least aware of the bigger picture. Yes, rehearsal is about exploration, trial and error - but there is a balance of which the actor should be mindful.


Here's the thing, while a good director might be aware of an actor's needs and work with them - bottom line - it is not their job to do so...


Furthermore, directors work in different ways. As Robert Brustein explains in his wonderful book, Letters to a Young Actor:

"First, dear Actor, you must recognize the existence of at least three distinct species of directors, each of whom regards you as a different type of prey. There is the interpretive director, whose primary obligation, at least in theory, is to understand the intention of the playwright and realize it through the medium of the actor's performance. Then there is the conceptual director, dedicated to reinterpreting and refreshing existing works, primarily the classics, and so making them more immediate to the present day. And third, there is the auteur director, who is generally concerned with inventing his or her own texts in a production almost totally controlled by one imagination."

If you gleen nothing else from the above passage, note the lack of attention to the actor's process in the description of director styles and goals. 

Process work is for the classroom, that is why it is important for Actors to be in class constantly when they are not working. Work, is work. 

Show up, do the work, take your notes, apply them, go home. 

Starting a Theater Company

They're all over the place, EVERYONE seems to have one, many seem to just disappear.

Upstart Theater Companies

Why?

Well, let's face it. We are in a business that requires us to be seen, and quite often, whether or not that happens depends on someone else. So...why not give yourself that control for a change?! Having your own theater company can certainly provide you a venue in which to showcase you and your colleague's talents.

Now, don't get me wrong - there's a lot I still don't know about this, but as I'm working with several at the moment....I have learned a few things.

1st step - be sure to surround yourself with people whom you admire and respect both personally and professionally. THIS IS A MUST. You are going to be spending a great deal of time with these people...think about it - do you want to spend time with those you DON'T admire or respect? Well, then...there it is.

2nd step - DO STUFF.

What is my type?

This can be one of the most challenging issues an actor has to face. In almost no other profession does a person have to regard, so overtly, how others perceive them. It can be disheartening, and frightening for some. This requires a significant amount of strength and confidence most people “in the real world” I feel, do not possess (watch any reality show – if you feel my opinion is inaccurate).

To not only be completely comfortable in one’s own skin, but also accept whatever that “skin” is; realizing all at once, what it is that dictates your market, as well as possessing the ability to separate oneself and acknowledging that that “skin” does not define you as a person.

Does that make sense?

FOR EXAMPLE: I have come to learn that I have a propensity to playing “Assholes” quite well, and easily for that matter. Moreover, I may also have a vibe that some might call “creepy.” (NOt always - it all is a matter of opinion, but I do know certain CD's, directors, etc see me this way) However, if I am to work, I must not take offense that label, embrace it, and use it to my benefit. After that, I must be confident enough to have awareness of that type, and embrace that they neither describe, nor define me as a person (though there are many that would probably agree with the label of “asshole” but I digress).

Take a real, hard look at what you are usually cast as.

The friend?

The villain?

The boy/girl next door?

Gay?

Creep?

Be Honest.

You also may want to start asking trusted friends/mentors WHO ARE INVOLVED IN THE BUSINESS somehow. People outside this industry don’t quite understand how this works.

One great exercise I participated in was in Los Angeles, at The Actor’s Network. They hosted “Typing” seminars. All you did was sit in front of a group of strangers (usually all actors). Based on how you dressed that day (you would decide how you would present yourself), the group would circle different words that best described you:

Professional

Flirty

Dirty

Sexy

Fun

And the list goes on.

You would then collect all of them at the end of the event, and count how many times certain words were circled…you’d be surprised how many people (who did not know each other) perceived the same thing!

If you can find something like that, I believe that is the best way to find out what your type is.

Now the hard part – embrace it, and proceed accordingly!

The Audition, part III

You gotta let it go.

You've had the audition and you KICKED ASS!

or

You've had the audition and you HUMILIATED YOURSELF! (fact is, you probably didn't, BTW)

either way...when it's over - You GOTTA LET IT GO.

It's out of your hands, and whether you get it or not - bottom line: it usually has NOTHING TO DO WITH YOU.

Does this make sense?

Maintaining emotional, financial and creative health...

An Actor's life can be a challenging one (or any type of artist for that matter). It can be one of the most hardest, thankless, spirit-draining quests a person can hope to pursue. Not to sound negative, but in no other profession does a person deal with more obstacles, rejection, and self-doubt than any other (admittedly, the latter is often a result of the previous two!).

Thankless? yes... depending on your point of view.

If you are able to pursue your art without the need for attention, praise or recognition, then you're half way there. Otherwise, if you are seeking those things with your art-you might be faced with some difficulty. Maintaining your health is paramount: Emotional, Spiritual, Financial as well as Creative health.

Emotional:

Find yourself a support system. No one can do it alone. Whether it be family, or close friends, it is important to surround yourself with a small, trusted selection of people whom you trust to not only be there for you, but also be a source of trusted feedback and advice. There will be times when doubt rears its head. It is during those times that your support system will be the most necessary; to be a sounding board to vent your frustrations, to laud your disappointments, etc. BUT, don't be hard on them when/if they call you on your own bullshit. That's why they're there. That's why you trust them. Embrace the tough love when/if it comes. It's all part of the process.

You might consider joining a class, your some type of club for no other reason than to meet new people; to expand your social circle - or create a new one.

Of course, emotional health is very much connected to your physical health. As I am no certified medical practitioner, nor nutritionist, etc. I'll refrain from giving the health advice. All I'll offer is the one is connected to the other. Make whatever deductions you will from that.

Spiritual:

I'm not talking clutching bibles and quoting scripture, here (unless, that happens to be your thing). What I'm saying is, it is important to have some type of connection to whatever higher power that you believe in , so as to achieve a type of perspective in life. It's easy to lose focus on the things that are truly important, what really matters. A connection to some type of spiritual belief system helps maintain perspective in life, especially when things seemingly are not going your way. There may be something "else" at work.

If nothing else, if you believe in none of these things (and that is OK), one should at the very least, be grateful for what it is they have. Sometimes, the mere focus on what one has, rather than what one doesn't have can be enough.

Financial:

Gotta bring home the bacon! What I work to achieve is pursuing a 2nd career that can be fulfilling at the very least, if not somehow connected to my primary passion. That 2nd career, for me, is teaching. I have been very fortunate to be teaching for the past 5 years now. It brings me much joy and fulfillment. Find that other thing that can help you maintain your financial responsibilities.

Bottom line: you need a job to pay the bills. There's no escaping it. As with your artistic life, why not make it something you enjoy? Look for those jobs that may prick the creative spurs in other ways. Maybe there's something else that you are interested in learning? The are also resources out there to help artists work when things are slow on the creative front.

Check out: The Actor's Work Fund, Playbill.com, ArtSearch, and others. Google them.

Creative:

For the actors specifically-when things are slow - get a group of friends/actors and do a reading. Read plays. Shoot your own shit. My God, with Flip Cameras, iMovie, and all other sorts of digital tools out there, it is increasingly easier to make your own projects. Begin to write! Draw...whatever! I suspect you don't need me to tell you this stuff...it's just nice to get the friendly reminder.

In these tough times, it's easy to think you're the only one going through the self-doubt and pessimism.

All I'm saying is...

You ARE NOT alone.

Be kind to yourself, and take care of yourself by maintaining your health, in all ways.