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What do we have so far?

A summary of what we have learned during the last activity, focusing on how to think during preparations
What do we have so far? Well, we now have everything we need– –to start listening and answering from a specific point of view. The point of view of the choices that you will make. We have looked at the building blocks of a scene from the perspective of the actor– –and discussed three basic components to look for. Activity, or doing. Objective, or, “what do I want?” Relationship, or, “who is the other person to me?” Most information that you get from a script– –or from a director, or that you come up with yourself– –will, if it’s something that is actually actable– –fall into one of these categories.
By this I mean that in order for information about a scene to be helpful– –it should inform the specific choices you make about these three things. Information that falls outside of this may be interesting– –but is oftenm very hard to use and it’s often best not to try. But if we make clear specific choices about these few elements– –chances are we will be very well grounded in the circumstances of the scene. The most important thing in identifying or choosing your circumstances – –is to make them interesting to you. You’re not looking for the right answers to a test. You’re looking for what excites you– –what makes you feel something and what you can’t wait to try.
Something that you want to act.
I would also like to talk a bit about– –how to think about your circumstances once you’ve chosen them. It’s very common to think that the goal is to believe in your circumstances. And the more we can believe in them, the better. That is a very strange idea when you think about it. But I think we usually don’t really think about it. If you actually believed that the actor opposite you were the ghost of your father– –and that you were the prince of Denmark– –you would no longer be acting, you would be delusional And that would not be very helpful to you or the other actor. Right?
And yet somehow, we think this is the goal– –and then feel bad for not accomplishing it. Don’t waste any more energy trying to believe your circumstances. Rather, accept them. Don’t worry about believing. Accept that you’re playing a game– –in which you pretend that the other actor is the ghost of your father– –and then see what happens. This doesn’t mean that your circumstances won’t have an effect on you. If you’ve done your homework, they probably will. But not because you think they are real– –but because they are an interesting fantasy to you. Just like daydreaming about winning an Oscar will make you feel a certain way– –or fantasizing about telling off your boss.
Your choices have a good chance of being useful if they´re super-easy– And I mean, super-easy to understand– –exciting to you in some way– –and provokes a reaction in you that is instinctual and emotional– –rather than intellectual. You’ll find with experience that all scenes really just boil down to a handful of things. And the thing they all have in common– –is that they’re very human and very simple. We just keep exploring them over and over from different angles in different settings.
In this video, Johan talks about how we are now ready to start listening and answering from a specific point of view. He then goes on to talk about how almost all relevant information about a scene will fall into one of the categories of activity, objective and relationship.

When making choices about your circumstances the most important thing is that they are interesting and exciting to you.

You should however, not waste any energy trying to believe that your circumstances are real. They are not. Instead, just accept your circumstances as an interesting fantasy, as the basis for a game you’re about to play.

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Introduction to Acting

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