First and foremost, I hope you're all having a good Easter Weekend. I'll be spending some good quality time with the family tomorrow. We have homemade cinnamon-raisin sticky-buns awaiting us. Ohhh-hohhhh boy.
;
Whilst I salivate, this is my most recent post. Hope it is worth the wait:
You find your path; you forge your path. You move like the Juggernaut. Your momentum swings into that laser-precision mission you call your will and out after that target you go. You bulldoze obligations, time with friends, time with family, time for yourself--you must'n't let distractions get in your way. Not even money. At almost all cost.
And then one day you come up to a high incline. Your speed slows. You try to dig as deep as you can, but you used all of that effort just getting over the last mountain. Suddenly your aim comes to a halt. The show that must go on, stops, and your competitors fly over that hill like birds over ants.
Now what?
That's exactly what I want to talk about today.
There's an interesting article that in very succinctly explains why the Intiman Theatre is cancelling the rest of their season. They were very short on their budget for this year and so started a huge fundraising campaign, of which the results were very promising and it was declared they would press on. However, after a deeper look at projected income, the fear was that only a bigger hole was being dug.
Do you feel like all that fancy digging of yours isn't getting you any closer to the surface? That's what I've been feeling lately. My return home has been successful. My pursuits have been rewarding and only the potential for more interesting adventures. However, the resources for acting are somewhat bare these days. And, many of the theaters looking for actors have already been cast. The actual cost to audition and stay informed can be very pricey. You can say I'm like the fly on the flypaper. How to break free...
Sometimes it just means you have to stop. You have to withdraw to really understand your options. It takes just as much courage to retreat as to engage. It's not easy to do; some will not understand or appreciate your reasons. In military battles, the best generals were the ones who knew when they were picking the wrong fight and moved out of harms way to better fight the enemy tomorrow.
"Why so cryptic Ben?"
Well, the past year has made me rethink much of what acting is and how I want to practice as a artist in the profession. Diversity and independence have come up repeatedly in my search. I want to have a connection both outside and within the arts domain.
This past year or so have been a gamble to jump-start a career. When it's your living on the line, the need can arise to force creative production. It can be very painful and sometimes, in my opinion, damaging to your creative psyche. Therefore, it is a new mission of mine to reduce the stress that comes with finding and producing artistic work. Apparently, sprinting has its place (you can read this if you've got some time, and an extensive physiology and biology vocabulary, or that if you'd like the digest), but remember this is a long distance affair. At some point, we all need to just stop. An artist's journey is as much about the stop-and-go, the diversions from the inspired path, as a play itself. There has been great success, but it has hindered other adult obligations that need to be addressed. Slow and steady will now win the race. That doesn't mean there won't be bold choices or lack of a determination to find other exciting options, but there will be an emphasis on providing more support to make sure I am in good stead.
I want to be in New York. The BosWash Corridor has a real appeal to me. The people I know here and the resources available are tremendous--if you are wise of the system by which they are dispersed. I want to (finally) explore the world of voice-over and commercials. The inner-writer is going to get out more often as well. A lot of actors have also encouraged me to look up opportunities as an extra. Why not. Let's spread the roots a bit.
Of course, there are many steps needed in order to put all of these in place. First, is to move closer to a major arts city. Philly and D.C. were high on my list, but New York's gravity is pulling me the hardest right now. Rest assured, those other areas (Boston included) will be getting further investigation. But home base will be New York/New Jersey for the foreseeable future.
The second is providing myself with a solid foundation to support my business as actor and writer. As I've written before, inquiries have already been made. I'm really close to making both these two points happen. So close...
So that's the next big turn. We'll get into vision and mission statements later--something that every artistic and entrepreneurial spirit should embrace. Until then, may you have many colored eggs and chocolate bunnies.
-Ben
Saturday, April 23, 2011
Thursday, April 14, 2011
Twinight Harolds
Good evening (or Morning?),
First, some misfortune: my laptop has officially died (tear). I wish it well in circuitry heaven and recycling. For you, that means my posts will be a little more spread out. In the meanwhile, I've been hitting the ground running these days and I must be off to bed for a very important audition tomorrow--looking forward to getting to that when the opportunity strikes.
Excellent progress has been made towards finding work. Some canidates have been eliminated through the usual reasons and some interviews have been obtained. At this point, I've really started to hone in on some good leads and my aim is that before this month is out my financial and artistic needs will be well in hand...including some education opportunities (fingers crossed). I've been learning to put good energy and my wishes out into the world every day--the power of want and belief are already making a difference.
The search has come down to acting (mostly commercial), teaching, and hospitality/customer service options--each one of which fits me very well. That's the beauty of being an actor--your work in theater actually makes you well-versed in a plethora of skills; an artists breadth and depth of abilities is not to be over-looked.
Transition is something that both intrigues and challenges me in many ways, but it's encouraging that so much progress has already been made (not bad for a mere seven days in pursuit!). Glad to have you on board with me.
I hope that next time you read this is over your breakfast and coffee...and considerably later. Time for bed!
-Ben
First, some misfortune: my laptop has officially died (tear). I wish it well in circuitry heaven and recycling. For you, that means my posts will be a little more spread out. In the meanwhile, I've been hitting the ground running these days and I must be off to bed for a very important audition tomorrow--looking forward to getting to that when the opportunity strikes.
Excellent progress has been made towards finding work. Some canidates have been eliminated through the usual reasons and some interviews have been obtained. At this point, I've really started to hone in on some good leads and my aim is that before this month is out my financial and artistic needs will be well in hand...including some education opportunities (fingers crossed). I've been learning to put good energy and my wishes out into the world every day--the power of want and belief are already making a difference.
The search has come down to acting (mostly commercial), teaching, and hospitality/customer service options--each one of which fits me very well. That's the beauty of being an actor--your work in theater actually makes you well-versed in a plethora of skills; an artists breadth and depth of abilities is not to be over-looked.
Transition is something that both intrigues and challenges me in many ways, but it's encouraging that so much progress has already been made (not bad for a mere seven days in pursuit!). Glad to have you on board with me.
I hope that next time you read this is over your breakfast and coffee...and considerably later. Time for bed!
-Ben
Friday, April 8, 2011
Dancin' with Myself
Today has been full of the hunt. Job applications are already out in the world and exciting new things are already starting to take shape. Can't wait to tell once I hear more. I recently found a play reading club in the city and we had a lot fun rediscovering plays like Stop Kiss. It's early yet, but this summer should provide us with plenty more Journey to tell. Naturally, one shouldn't claim to have what one has yet to receive. It's simply bad luck, in my opinion. Lucky, time will be the swifter wind this go-around.
The day came and went. The rain came and went. But the cold settled in for the evening. It was my mother, my sister, and I, eating good home-cooked food, and watching this very fun movie called Take the Lead, starring Antonio Banderas. It's very nice rendition of a familiar storyline: a funny and honest portrayal of an outsider coming into an underprivileged, inner-city school to help the worst of the misfits find their way in the midst of tough life circumstances. In this case, a dance teacher decides to volunteer his time and skills to the detention class. Along the way, they learn that dance, like life, takes trust: it cannot be done alone, but also doesn't have to be done for anyone else that may be watching; their best dancing happened when they were out there on the floor and didn't care who might be watching. And, my goodness, was the dancing fun to watch.
One thing we practice in acting is the concept of public privacy. The idea is, very early on in training, to get comfortable doing something in your "room" onstage as if you were in your real life room, with the door shut, and no one was looking. In order to reveal the life of the story that captures our attention so well, you can't bother yourself with the fight you had with a boyfriend an hour ago, or that you dropped ice-cream on those pants you ironed for thirty minutes or even that you knew your favorite director is going to be in the audience that night. None of it has anything to do with the story on stage. It has nothing to do with your character. This Other Life, when the lights come on, and the theater gets quiet, is its own bubble--regardless of whether it directly involves the audience or not--you have to dance to your part, and with your partners, with the ecstatic abandon one might attempt in an empty rehearsal hall.
It's important for me to admit this because this is one of the biggest personal challenges I have faced. Being an actor new to the industry can be an overwhelming experience. You have little money. Maybe there's struggles within the family or circle of friends. Maybe its about your career. Maybe its about something else. You have enormous amount of excellent competition, each of them clawing and scratching their way to the top along side you. Success can get you to the point where they suddenly look better than you, dance/sing/act better than you, know more people than you, work harder than you, smile more than you do, heck, maybe people just plain like them better than you. And then, there are all these directors, artistic directors, castings agents, and a whole host of other theater types that you somehow have to leave a good impression while not looking like you're trying to leave a good impression. And THEN there could be your own opinions: did I like what I did? It could even be about waking up on the wrong side of the bed. Professional or personal, the friction from the grind can seep into every crevice of your day-to-day.
And in the attempt to protect ourselves from these inner doubts, we forget on stage to learn how to dance alone. To throw away the backstage bricks that weigh us down and find the Waltz or Cha-Cha of this other life that we inhabit for a few hours. Just like in the movie, I understood that to these kids, that release is freedom, and honesty, and so much the celebration of everyone's self, and what makes people so damn interesting, that it seems silly to worry about anyone noticing.... Those who are more concerned about their ensemble and the story say so many better things about who they are than the self-conscious actor that always needs to prove something.
I made a promise to myself a very long time ago that, no matter, no matter how hard this profession became, that I would always find something fun and exciting about it to keep me going. I think part of that is finding art that touches me. Like this movie. It's crucial to find the kind of work that lights your fire because that will only help you when you need to light a flame in your audience. Let's say that's one of my new goals from here on out--let's find the things that inspire--even if its other competition--and let that be the basis for our new moves.
In the spirit of happy discovery, here's my randomly entertaining video of the week.
-Ben
The day came and went. The rain came and went. But the cold settled in for the evening. It was my mother, my sister, and I, eating good home-cooked food, and watching this very fun movie called Take the Lead, starring Antonio Banderas. It's very nice rendition of a familiar storyline: a funny and honest portrayal of an outsider coming into an underprivileged, inner-city school to help the worst of the misfits find their way in the midst of tough life circumstances. In this case, a dance teacher decides to volunteer his time and skills to the detention class. Along the way, they learn that dance, like life, takes trust: it cannot be done alone, but also doesn't have to be done for anyone else that may be watching; their best dancing happened when they were out there on the floor and didn't care who might be watching. And, my goodness, was the dancing fun to watch.
One thing we practice in acting is the concept of public privacy. The idea is, very early on in training, to get comfortable doing something in your "room" onstage as if you were in your real life room, with the door shut, and no one was looking. In order to reveal the life of the story that captures our attention so well, you can't bother yourself with the fight you had with a boyfriend an hour ago, or that you dropped ice-cream on those pants you ironed for thirty minutes or even that you knew your favorite director is going to be in the audience that night. None of it has anything to do with the story on stage. It has nothing to do with your character. This Other Life, when the lights come on, and the theater gets quiet, is its own bubble--regardless of whether it directly involves the audience or not--you have to dance to your part, and with your partners, with the ecstatic abandon one might attempt in an empty rehearsal hall.
It's important for me to admit this because this is one of the biggest personal challenges I have faced. Being an actor new to the industry can be an overwhelming experience. You have little money. Maybe there's struggles within the family or circle of friends. Maybe its about your career. Maybe its about something else. You have enormous amount of excellent competition, each of them clawing and scratching their way to the top along side you. Success can get you to the point where they suddenly look better than you, dance/sing/act better than you, know more people than you, work harder than you, smile more than you do, heck, maybe people just plain like them better than you. And then, there are all these directors, artistic directors, castings agents, and a whole host of other theater types that you somehow have to leave a good impression while not looking like you're trying to leave a good impression. And THEN there could be your own opinions: did I like what I did? It could even be about waking up on the wrong side of the bed. Professional or personal, the friction from the grind can seep into every crevice of your day-to-day.
And in the attempt to protect ourselves from these inner doubts, we forget on stage to learn how to dance alone. To throw away the backstage bricks that weigh us down and find the Waltz or Cha-Cha of this other life that we inhabit for a few hours. Just like in the movie, I understood that to these kids, that release is freedom, and honesty, and so much the celebration of everyone's self, and what makes people so damn interesting, that it seems silly to worry about anyone noticing.... Those who are more concerned about their ensemble and the story say so many better things about who they are than the self-conscious actor that always needs to prove something.
I made a promise to myself a very long time ago that, no matter, no matter how hard this profession became, that I would always find something fun and exciting about it to keep me going. I think part of that is finding art that touches me. Like this movie. It's crucial to find the kind of work that lights your fire because that will only help you when you need to light a flame in your audience. Let's say that's one of my new goals from here on out--let's find the things that inspire--even if its other competition--and let that be the basis for our new moves.
In the spirit of happy discovery, here's my randomly entertaining video of the week.
-Ben
Saturday, April 2, 2011
New Directions
Hello everyone,
It's been some time since we last talked. There's a great deal of good story to share with you.
To start: We've finally narrowed down the mass of play submissions for Under 6 (over 3,300!) to 25-30 top plays that the Artistic Director will review and give his personal input. There's some real good ones in there. I'm looking forward to hearing who's going to be the winner. I also devoted many an hour to completing our subscription renewals. We spend much of the time processing the last of the forms, answer phone calls, help walk-in patrons, and then talk about the more "interesting" patrons that we encounter.
Thursday: we made our way out for an Art Appreciation day they are had at a local Elementary School. This particular location is another very FST-friendly place, which made us even more eager to attend. The Principle was decked out in a P.T. Barum outfit. There was dancing, there was the singing of the Star-Spangled Banner, there were ballet dancers, and there were unicycle riders. And they were just part of the event, each demonstrating and breaking down their feats to help children understand how they did them. We were one of the main events, teaching everyone a fun dance set to the Black Eyed Peas "I Got A Feelin'". This was also a great time, with all the challenges of keeping the excited child-crowds focused on the task. And, lots of special hollywood-star shaped shades that would make even Kanye West proud. We had 30 minutes with each grade (6 sessions in all): we managed to squeeze in dress rehearsal of the performance and then a final presentation that was video-taped.
That is in quick some this week's highlights. And now for an important announcement.
Over the past few weeks, I have had a chance to reflect on the incredible breadth and depth of my adventures here. There were important discoveries made and lessons learned that will serve me well wherever I find my life leading. But, with the summer employment season close at hand, and the Playmakers and Under 6 Tour concluded, I felt this was the right time to conclude my Journey with Florida Studio Theatre (FST).
This decision came from both personal and professional reasons. I'm excited because it signals the next step. What I have learned about myself in Florida will require me to take a different approach to being an artist. It coincides with what I see as a change in direction. Since I have only arrived today, more introspection is needed. And of course, I will be eager to share them with you. I'm grateful to FST for opening their doors; giving me the chance to do some amazing work and gain further insight into the Business. My superiors, along with the entire staff, have been gracious and supportive of my decisions. I wish them all the best and hope that our futures my once again intertwine. In the meantime, I will recoup from my travels and look forward to making my next post for all of you. Until then.
-Ben
It's been some time since we last talked. There's a great deal of good story to share with you.
To start: We've finally narrowed down the mass of play submissions for Under 6 (over 3,300!) to 25-30 top plays that the Artistic Director will review and give his personal input. There's some real good ones in there. I'm looking forward to hearing who's going to be the winner. I also devoted many an hour to completing our subscription renewals. We spend much of the time processing the last of the forms, answer phone calls, help walk-in patrons, and then talk about the more "interesting" patrons that we encounter.
Thursday: we made our way out for an Art Appreciation day they are had at a local Elementary School. This particular location is another very FST-friendly place, which made us even more eager to attend. The Principle was decked out in a P.T. Barum outfit. There was dancing, there was the singing of the Star-Spangled Banner, there were ballet dancers, and there were unicycle riders. And they were just part of the event, each demonstrating and breaking down their feats to help children understand how they did them. We were one of the main events, teaching everyone a fun dance set to the Black Eyed Peas "I Got A Feelin'". This was also a great time, with all the challenges of keeping the excited child-crowds focused on the task. And, lots of special hollywood-star shaped shades that would make even Kanye West proud. We had 30 minutes with each grade (6 sessions in all): we managed to squeeze in dress rehearsal of the performance and then a final presentation that was video-taped.
That is in quick some this week's highlights. And now for an important announcement.
Over the past few weeks, I have had a chance to reflect on the incredible breadth and depth of my adventures here. There were important discoveries made and lessons learned that will serve me well wherever I find my life leading. But, with the summer employment season close at hand, and the Playmakers and Under 6 Tour concluded, I felt this was the right time to conclude my Journey with Florida Studio Theatre (FST).
This decision came from both personal and professional reasons. I'm excited because it signals the next step. What I have learned about myself in Florida will require me to take a different approach to being an artist. It coincides with what I see as a change in direction. Since I have only arrived today, more introspection is needed. And of course, I will be eager to share them with you. I'm grateful to FST for opening their doors; giving me the chance to do some amazing work and gain further insight into the Business. My superiors, along with the entire staff, have been gracious and supportive of my decisions. I wish them all the best and hope that our futures my once again intertwine. In the meantime, I will recoup from my travels and look forward to making my next post for all of you. Until then.
-Ben
Wednesday, March 23, 2011
Stand in the place where you are...
This will be short and sweet.
I had a rather intensive day in the box office, but it was good because I knew they needed me there. The work was relentless, but the results are rewarding. I'm helping to get 20,000+ people ready for the summer and following winter re-subscriptions. It's quite and undertaking and an honor to be of assistance. This is the lifeblood that allows all other activities at the theater to prosper.
Afterward, I got some casual time with some of the cast of the Brassy Broads (a fun all-female musical revue) and some of the tech interns that do many, many things behind the scenes. It makes me realize that it's not just about doing what you love, it's about the people with which you will do that certain something. Creativity does not just spawn itself alone, it needs an ecosystem with which to propagate inspiration. Having fellow beings with which you have comfort and provide you energy can result in creations far greater than your own mind could conceive. Inner strength will only take you so far. I cannot speak for other businesses, but the "Business" is built around community. Surround yourself with good people and trustworthy people and you will surely grow. Become choked by those certain weed-types that trick, that lie, that manipulate, and you will brown out, wither, and perhaps have your passion die out altogether. This is neither an easy evaluation to acknowledge nor is it a simple solution to discover the inner fortitude that accepts when a certain place might be poisonous to your well-being.
This is why we network. This is why we work in many different places. This is why we do research and ask questions. We should know as much as we can about where we are going before we get there; what we should know when we arrive. And, how we can use this experience to the benefit of, most importantly, ourselves and those around us.
Again, more big thoughts from someone who goes through them every day.
-Ben
P.S.-Word of mouth is the biggest way to spread good news around. I hope that if you find my blog helpful, that you'll pass that love along to those you know. It's already bringing big attention to my posts--so thanks to everyone who's been so helpful so far!
I had a rather intensive day in the box office, but it was good because I knew they needed me there. The work was relentless, but the results are rewarding. I'm helping to get 20,000+ people ready for the summer and following winter re-subscriptions. It's quite and undertaking and an honor to be of assistance. This is the lifeblood that allows all other activities at the theater to prosper.
Afterward, I got some casual time with some of the cast of the Brassy Broads (a fun all-female musical revue) and some of the tech interns that do many, many things behind the scenes. It makes me realize that it's not just about doing what you love, it's about the people with which you will do that certain something. Creativity does not just spawn itself alone, it needs an ecosystem with which to propagate inspiration. Having fellow beings with which you have comfort and provide you energy can result in creations far greater than your own mind could conceive. Inner strength will only take you so far. I cannot speak for other businesses, but the "Business" is built around community. Surround yourself with good people and trustworthy people and you will surely grow. Become choked by those certain weed-types that trick, that lie, that manipulate, and you will brown out, wither, and perhaps have your passion die out altogether. This is neither an easy evaluation to acknowledge nor is it a simple solution to discover the inner fortitude that accepts when a certain place might be poisonous to your well-being.
This is why we network. This is why we work in many different places. This is why we do research and ask questions. We should know as much as we can about where we are going before we get there; what we should know when we arrive. And, how we can use this experience to the benefit of, most importantly, ourselves and those around us.
Again, more big thoughts from someone who goes through them every day.
-Ben
P.S.-Word of mouth is the biggest way to spread good news around. I hope that if you find my blog helpful, that you'll pass that love along to those you know. It's already bringing big attention to my posts--so thanks to everyone who's been so helpful so far!
Monday, March 21, 2011
Filing and Improvising
Welcome back to Monday. I promise I have some good stories to fill the time.
Box Office:
We're currently awaiting our last tour date this Friday. As I'm sure you'd believe, there's still plenty to do. I spent the day getting our filing for re-subscriptions in order, man the phones, and make small talk with my fellow coworkers. I'm almost done with The Empty Space, which means they'll be more thoughts on that soon. Of course, the day was not very exciting, but it was a change in ruetine and there's nothing better for an artist than to mix up the pace every once in a while--it keeps your sense sharp to live in its every detail. You could make an average day very interesting (and assure yourself you'll still have a job by tomorrow), but just changing very little things and seeing what they do for your experience of the everyday. It's likely it won't be very boring if you stay alert to the very minute differences.
But I digress.
The Box Office, thankfully, ran smoothly, and then I immediately rushed for some pizza (like I need an excuse for that) and then got myself ready for the open Improv night at the Cabaret theatre. You see, we have an awfully lot of adult improv classes going on--and the people that join up are loads of fun. The second to last class to a free night where they put the students under the shining lights to show off their skills (option "z" spelling included). They've been encouraging us to participate and of course we obliged.
Improv Night:
When people are thinking on their feet under observation of an audience, there's always something interesting that's going to happen. Such as the two people guessing what each of their partners were doing. It was set under the context of a debate over a controversial issue. One person each was demonstrating one point of view which another pair had to guess what they're arguing while their making the argument. They thought it was about drinking tequila. However, it was really about the difference between pulp and non-pulp orange juice. The guessing was both amazing and painfully funny to watch.
But that was just the first group. Which none of myself or my colleagues were in. Now it was our turn.
We get up there and of course my first-show jitters are showing just a little bit. I take some breathes and let the bad tension seep its way out just in time to get under way. We were really in the grove tonight. We created, as a group, the every evolving story about the 'gator trapped in our mini-Toyota and we managed to plow into the swamp water while battling off the reinforcements swimming and chomping at the bit to snap us off the roof of our nearly submerged compact. From there we had everything from ex-lovers trying to put down each other by determining whether the bounty of age or the allure of youth could really satisfy their man. Or, perhaps the wife who had filled her bed with toenails in order to spice up their love life while the husband was trying to find a more hygienic solution...although there wasn't enough time to save him from his pediatrist who was returning some underwear that got lost in their last "session" (what is it with comedy and sexual tensions!).
Then there was the dating game. In a rough abbreviation, there's a person who has to choose from three contestants who their lucky suitor will be. Of course, this person has left the room so the audience can make suggestions about the wild characters we will be during this game. And, the real challenge for the interviewer to determine who their winner is and figure out each person's character. Oh yeah, and we can't directly reveal who we are when the interviewer returns.
The desperate dater returns. Us characters settle in.and away we go.
One was Abraham Lincoln (picked from suggestions for a historical figure).
One had the unfortunate problem of snoring very loudly (a bad habit).
And one was a kitten (picked for a ferocious creature...this was me).
The first two were spotted quickly. Then I remained. With cute kitten eyes i was going to be the lucky date of our contestant! I awaited the dater to discover who I really was. There was a pause. I was in full cute kitty mode. Big wet eyes, soft fur, the works (at least from what my imagination could conjure). I had given what I thought were some dead give-aways--favorite color? gray, because it's the color of the mice I chase. Pretty explanatory if you ask me. Our improv partner decided I was...
An elephant. Then a whale. Then a mouse.
Ah well, can't get em all. We were all a bit confused, but it was pretty amusing nonetheless. Fortunately, everyone else in the room had a pretty good idea who I was and the dater finally discovered my true identity. By the end we were all giving high-fives. I got people to laugh about quantum physics. Only in improv...
So we're now back at the house and making more small talk. I've taken my shower. All is well. A quiet day and a quirky night. And that's way I liked it.
-Ben
Box Office:
We're currently awaiting our last tour date this Friday. As I'm sure you'd believe, there's still plenty to do. I spent the day getting our filing for re-subscriptions in order, man the phones, and make small talk with my fellow coworkers. I'm almost done with The Empty Space, which means they'll be more thoughts on that soon. Of course, the day was not very exciting, but it was a change in ruetine and there's nothing better for an artist than to mix up the pace every once in a while--it keeps your sense sharp to live in its every detail. You could make an average day very interesting (and assure yourself you'll still have a job by tomorrow), but just changing very little things and seeing what they do for your experience of the everyday. It's likely it won't be very boring if you stay alert to the very minute differences.
But I digress.
The Box Office, thankfully, ran smoothly, and then I immediately rushed for some pizza (like I need an excuse for that) and then got myself ready for the open Improv night at the Cabaret theatre. You see, we have an awfully lot of adult improv classes going on--and the people that join up are loads of fun. The second to last class to a free night where they put the students under the shining lights to show off their skills (option "z" spelling included). They've been encouraging us to participate and of course we obliged.
Improv Night:
When people are thinking on their feet under observation of an audience, there's always something interesting that's going to happen. Such as the two people guessing what each of their partners were doing. It was set under the context of a debate over a controversial issue. One person each was demonstrating one point of view which another pair had to guess what they're arguing while their making the argument. They thought it was about drinking tequila. However, it was really about the difference between pulp and non-pulp orange juice. The guessing was both amazing and painfully funny to watch.
But that was just the first group. Which none of myself or my colleagues were in. Now it was our turn.
We get up there and of course my first-show jitters are showing just a little bit. I take some breathes and let the bad tension seep its way out just in time to get under way. We were really in the grove tonight. We created, as a group, the every evolving story about the 'gator trapped in our mini-Toyota and we managed to plow into the swamp water while battling off the reinforcements swimming and chomping at the bit to snap us off the roof of our nearly submerged compact. From there we had everything from ex-lovers trying to put down each other by determining whether the bounty of age or the allure of youth could really satisfy their man. Or, perhaps the wife who had filled her bed with toenails in order to spice up their love life while the husband was trying to find a more hygienic solution...although there wasn't enough time to save him from his pediatrist who was returning some underwear that got lost in their last "session" (what is it with comedy and sexual tensions!).
Then there was the dating game. In a rough abbreviation, there's a person who has to choose from three contestants who their lucky suitor will be. Of course, this person has left the room so the audience can make suggestions about the wild characters we will be during this game. And, the real challenge for the interviewer to determine who their winner is and figure out each person's character. Oh yeah, and we can't directly reveal who we are when the interviewer returns.
The desperate dater returns. Us characters settle in.and away we go.
One was Abraham Lincoln (picked from suggestions for a historical figure).
One had the unfortunate problem of snoring very loudly (a bad habit).
And one was a kitten (picked for a ferocious creature...this was me).
The first two were spotted quickly. Then I remained. With cute kitten eyes i was going to be the lucky date of our contestant! I awaited the dater to discover who I really was. There was a pause. I was in full cute kitty mode. Big wet eyes, soft fur, the works (at least from what my imagination could conjure). I had given what I thought were some dead give-aways--favorite color? gray, because it's the color of the mice I chase. Pretty explanatory if you ask me. Our improv partner decided I was...
An elephant. Then a whale. Then a mouse.
Ah well, can't get em all. We were all a bit confused, but it was pretty amusing nonetheless. Fortunately, everyone else in the room had a pretty good idea who I was and the dater finally discovered my true identity. By the end we were all giving high-fives. I got people to laugh about quantum physics. Only in improv...
So we're now back at the house and making more small talk. I've taken my shower. All is well. A quiet day and a quirky night. And that's way I liked it.
-Ben
Sunday, March 20, 2011
The Judgment Factor
So, I get a facebook group invite to vote for an auditioner (friend of a friend, you could say) seeking to be cast in the new Off-Broadway production of Rent coming this summer (is it scary this is the first time I've heard about it?). I've just started dabbling in video auditions myself; it's always interesting when there's a chance to see what we on stage/in the auditioning room look like from the audiences/casting directors' points of view.
I got curious. I started looking at other video auditions, subconsciously making observations in my head, as the determined actor that I am, and seeing what I liked or didn't like--perhaps the lighting was really weird or the audio quality wasn't great or perhaps I loved their voice, but didn't see any character emerge (or the complete opposite). Maybe they had a look or exuded a charisma that was spellbinding...or oozed something that produced a very different reaction.
Much like this wonderful site I've been getting into recently, I began to click associated links through youtube and "stumbled upon" a collection of videos talking about how the cast of Glee landed their current gigs. I've talked a lot recently about the relationship of art to our own lives and how to share that art. A big part of that, and many of my colleagues might agree, is being comfortable in where and who you are. One thing that stood out to me was how incredibly vunerable they all felt and how raw their auditions were--clearly they had the ability, but they were their 100% pure personality. It takes courage to allow the fullness of your humanity to be exposed. So it is that we cannot afford to take for granted ourselves so much that our technique or anything else outshines that essence which is always and uniquely our own.
However, I find the old, but rather vague, adage of "being yourself" very discouraging. In context, it usually means to act or behave as someone other than ourselves. Granted, there are times when this suggestion is useful--albeit necessary--when living with other people. But, there's nothing very self-appreciating or self-assuring in the phrase. It's not very helpful, so let's modify it.
In acting, producing a state of "being" almost always creates something equivocal and lacking in electricity...the gravitational pull that attracts people like flies to halogen bulbs. Specifics are essential. How and when do we know that we are being ourselves? Are we ourselves alone, or with other people? Both? Maybe in a certain place? In a certain job or study? When pressed to trace my judgments, the source lies in what people do (including what they say). Action seems to be the glue that binds all these questions together. When we do something, then we have a way of making an objective observation--of determining who our character is. But maybe doubt now slinks in: how to do we know the action is right? There's millions of choices. How do we know we picked the right one? My mind keeps wandering back to one phrase.
"Trust yourself": like you might have to do if you were at the door of a plane about to go skydiving. People I admire have this air of confidence, this alluring comfort in their presence, which almost always comes from a strong sense of faith in their choices independent of outside critique. They may appear strange, but they are so completely at ease within their own oddities that it quickly becomes accepted. Herein is where one of my biggest struggles remains: leaving myself alone to find the genuine character I'm playing.
Creativity is an unpredictable and somewhat mystic beast. When you're really doing something, your voice might wander somewhere and your body might move in a way which you didn't ask it. Or perhaps you're working from the outside-in instead; perhaps doing from an impulse of the mind that you willfully manifest. You might put your body into a funny position and justify an instant later. Whether through chaos or some inner reasoning, the best I've seen don't take time in performance to wonder if it worked. They worry about that later.
But what I saw in these videos about the Glee cast was an unabashed comfort in what they did--it may not have been the best choice at the time, but they went with it and somewhere in the struggle to reveal the song, they revealed themselves. I keep wondering how great it would be to allow personal inconsistencies to shine like Shakespeare in all their complexities--they'll certainly be more interesting to watch. If I'm critiquing myself in a performance, then I'm going to "be" the actor trying to play a part instead of the character trying to live within the story. This just highlights many other examples I've found.
I want to focus more of my work on embracing where I am, how to simply listen to what is going on around me, and how, when left alone, I can create a far more fascinating set of characters, than if I sweat it out, hoping to make a pleasurable show onstage. Again, this is just my own perspective. You can find some wise words about working from the actor's perspective and the rest of the business from the links on blog, posted here.
I got curious. I started looking at other video auditions, subconsciously making observations in my head, as the determined actor that I am, and seeing what I liked or didn't like--perhaps the lighting was really weird or the audio quality wasn't great or perhaps I loved their voice, but didn't see any character emerge (or the complete opposite). Maybe they had a look or exuded a charisma that was spellbinding...or oozed something that produced a very different reaction.
Much like this wonderful site I've been getting into recently, I began to click associated links through youtube and "stumbled upon" a collection of videos talking about how the cast of Glee landed their current gigs. I've talked a lot recently about the relationship of art to our own lives and how to share that art. A big part of that, and many of my colleagues might agree, is being comfortable in where and who you are. One thing that stood out to me was how incredibly vunerable they all felt and how raw their auditions were--clearly they had the ability, but they were their 100% pure personality. It takes courage to allow the fullness of your humanity to be exposed. So it is that we cannot afford to take for granted ourselves so much that our technique or anything else outshines that essence which is always and uniquely our own.
However, I find the old, but rather vague, adage of "being yourself" very discouraging. In context, it usually means to act or behave as someone other than ourselves. Granted, there are times when this suggestion is useful--albeit necessary--when living with other people. But, there's nothing very self-appreciating or self-assuring in the phrase. It's not very helpful, so let's modify it.
In acting, producing a state of "being" almost always creates something equivocal and lacking in electricity...the gravitational pull that attracts people like flies to halogen bulbs. Specifics are essential. How and when do we know that we are being ourselves? Are we ourselves alone, or with other people? Both? Maybe in a certain place? In a certain job or study? When pressed to trace my judgments, the source lies in what people do (including what they say). Action seems to be the glue that binds all these questions together. When we do something, then we have a way of making an objective observation--of determining who our character is. But maybe doubt now slinks in: how to do we know the action is right? There's millions of choices. How do we know we picked the right one? My mind keeps wandering back to one phrase.
"Trust yourself": like you might have to do if you were at the door of a plane about to go skydiving. People I admire have this air of confidence, this alluring comfort in their presence, which almost always comes from a strong sense of faith in their choices independent of outside critique. They may appear strange, but they are so completely at ease within their own oddities that it quickly becomes accepted. Herein is where one of my biggest struggles remains: leaving myself alone to find the genuine character I'm playing.
Creativity is an unpredictable and somewhat mystic beast. When you're really doing something, your voice might wander somewhere and your body might move in a way which you didn't ask it. Or perhaps you're working from the outside-in instead; perhaps doing from an impulse of the mind that you willfully manifest. You might put your body into a funny position and justify an instant later. Whether through chaos or some inner reasoning, the best I've seen don't take time in performance to wonder if it worked. They worry about that later.
But what I saw in these videos about the Glee cast was an unabashed comfort in what they did--it may not have been the best choice at the time, but they went with it and somewhere in the struggle to reveal the song, they revealed themselves. I keep wondering how great it would be to allow personal inconsistencies to shine like Shakespeare in all their complexities--they'll certainly be more interesting to watch. If I'm critiquing myself in a performance, then I'm going to "be" the actor trying to play a part instead of the character trying to live within the story. This just highlights many other examples I've found.
I want to focus more of my work on embracing where I am, how to simply listen to what is going on around me, and how, when left alone, I can create a far more fascinating set of characters, than if I sweat it out, hoping to make a pleasurable show onstage. Again, this is just my own perspective. You can find some wise words about working from the actor's perspective and the rest of the business from the links on blog, posted here.
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