Profile for rio197

In my case it helps.. but only if what I write in the life story concerns (and answers my questions of) what's already on the script. Things that go too far are just irrelevant to me and they won't really round out the person. actually, I've got a question, how do you create a physical action? or activity? It's my greatest concern, I'm perpetually worried of becoming just a talking head..

Well said, Ahmelie. blue shirt touchinthemorning, I saw you wrote: "My biggest problem with meisner is that he doesn't speak often enough about internal listening...I've found that most characters I play speak out because of an internal cue combined with an external one," I reckon there's an answer to your concern. Meisner once said "you respond to what's happening inside you when you hear your partner" (I'm paraphrasing here). This is on the video that he made with Sydney Pollack. And he did...

"allow me to disagree on this one. Psychoanalysis may help in beginning preperations to get into your character, but it is an intellectual activity, " now Pippin, analyzing a script is an intellectual activity anyway! I wrote specifically in regards to PA's step 1 which is the analysis part. When you read a script for the first time of course you can "feel" it out. Most of the time this works.. but when it doesn't, that's when we use a technique. Could be psychoanalysis, could be something el...

sorry, it seems my postings just went to the woods i.e. all gone! lemme try again: jrb wrote: "1. Figure out what the character is literally doing in the scene. What does he want?" I think this is where I got stumped most of the time.. however, I think one can use a technique to get to know what the character really wants: psychoanalysis. I recommend Sigmund Freud's book "A General Introduction to Psychoanalysis" it blew my mind

i'd totally daydream about that.

you know it. my favorite part is the curtain dropper of Act I. i call it the "roof-burner". Amy Morton's amazing.