Transcripts
1. 01 Intro: Hi, I'm Leon Clingman, and I'm an actor and acting coach from South Africa. I studied acting at the Lee Strasberg Theater Institute to New York, and I have been acting in Theatre Foreman television for about 28 years. A lawyer Now you work for May you 5000 pesos and pearls don't leave much in reserves an investment if you'll allow. Today I'm going to be talking about acting techniques and the basic principles of various techniques. Now there are many different acting techniques, and I won't be able to go into all of them. But I've chosen some of the main ones that are being taught and used around the world to share with you. In this course, we will cover the following techniques from nine master teachers. Constantine Stanislavski, Strasberg, Stella Adler, Meisner, Chekhov, Auto Hargon. Practical Aesthetics by David Mamet and William H. Macy. Biola Spooling and the Actors Foundry Technique by Matthew Harrison. So back a lap Desbiens, you're in for a ride
2. 02: According to the dictionary, a technique is a practical method, skill or art applied to a particular task. Well, Sanford Meisner, the creator of the Meisner technique, one of the techniques that we will be talking about later defined acting as living truthfully under imaginary circumstances. So that is our task. How do we achieve this task? How do we bring characters to life truthfully? How do we connect to and honestly express that sometimes extremely complex psychological states and emotions that are characters experiencing? How do we change our physicality, our voices, accents, etcetera in such a way that our audiences believe it? Israel that they laugh and cry, And I moved to thought by our performances, Well, this is where technique comes in. We dig Interactive's toolbox filled with all the techniques we have learned, and we create a map, a blueprint on how to navigate our way through the script and create a fully rounded, believable character that is living truthfully in the world that the writer and director have created. Now they may be times when you pick up a script and you just connect with it. You just become that character without having to do anything, and it is awesome when that happens. But it is ready. Technique is really important and helpful when you're filming or you're in a play on take 45 or Performance 500 just not feeling it anymore. So you go to your map and you find your way back. Being a professional actor can be highly stressful and demanding, and you're always expected to deliver your best. No matter what is going on around you or in your personal life. No one cares about that. They are paying you to do a job. You also need to have exceptional powers of concentration and focus. A solid technique will help you develop these and help you through many tough situations on set in, auditions, on stage, etcetera. There are many different techniques out there, and to say which is the best is impossible. We are all different. We respond differently to different techniques. It's a very personal thing, and at the end of the day you have to decide what works best for you. Ultimately, all techniques are designed to achieve the same purpose, which is to give you a set of tools that will help you deliver awesome truthful performances. You will come across some people who will swear by a particular technique and will swear that that is the only technique that works and that all other techniques are useless. This is not true. Some actors work with one technique their whole life, and that's great if it works for them. Other actors study many different techniques and then settle on one that they feel works best for them. Some actors keep filling their actors toolbox with different techniques and use different ones a combination of different ones, or even create their own techniques out of what they have learned and then use the one they feel works best whatever project they're working on, some people will tell you that studying is a waste of time and that you can either act or you can't. This is also not true now. There are some actors out there that are very successful and have never studied, but this is rare. It is the exception rather than the norm. Unfortunately, although we are all born with the ability to be fully emotional, to use our voices properly and to breathe correctly as we grow up, we're conditioned not to we're told to be quiet constantly to stop day dreaming. We are told not to behave emotionally or things like boys don't cry. That's not very lady like girls don't behave like that, etcetera. Any of these sound familiar? Well, when we hear these things over and over again, it causes us to become self conscious, to build up inhibitions, and we become emotionally blocked. We stop using our voices. Naturally, we stopped breathing properly, and then we have to go to acting school to learn how to do all these things that we used to do naturally as Children.
3. 03: So let us start to talk about some of the main techniques out there now. Humans have probably been acting since the caveman days, but let's jump a couple of 1000 years to the early 20th century and start there. There are as many approaches to the craft as they are actors approaching it, though all actors must develop their own understanding of the work. Several master teachers have led the way in training since the turn of the 20th century. These well known gurus helped develop acting as we know it and continue to grow some of the industry's biggest stars. Let's start with Constantine Stanislavski.
4. 04: Constantin Stanislavsky was a famous Russian actor, director and teacher who profoundly influenced the theater of the 20th century and beyond. Throughout his long life, he developed a variety of techniques that became known as the Stanislavski System or the method. His books, My Life in Art and Actor prepares building a character and creating a role are still studied today. Although very complex, one of the basic goals of the Stanislavski system was to portray believable natural people on stage. This motion was a striking contrast to the Fez, Bian's in 19th century Russia. Most of the actors during that era spoken a grandiose tone and gestured in an over the top manner. Stanislavsky helped to change much of that. In many ways, Stanislavsky is the father of today's style of method acting, a process in which actors immerse themselves into the characters as much as possible. Although the Stanislavski system cannot be thoroughly explored in a brief talk such as this , let's look at a few defining aspects off this famous teachers method. A simple way of beginning the Stanislavski method is to ask yourself, What would I do if I were in the situation? This is a good way to consider natural reactions to the events. In the story, Stanislavsky compelled actors to find ways to exhibit True to Life, human nature. He was the ultimate people watcher. He encouraged his students to carefully observe others, focusing on their physical traits just as much as their personalities. After studying everyday people, he would often disguise himself as a peasant, were an old man and interact with the townspeople to see how well he could fit in. Every person is unique. Therefore, every character should exhibit unique traits, many of which can be inspired and adapted from an actor's observations. Stanislavsky expected his actors to consider the character's motivation. Why does the character say this? Why does that carry to move to this part of the stage? Why does she turn on the lamp? Why does he take a gun out of the droll? Some actions are obvious and easy to explain. Others can be mysterious. He believed that the actor should study the text thoroughly to determine the motivation behind the characters, words and actions. Stanislavsky didn't want his actors to simply create a facsimile of an emotion. He wanted his actors to actually feel the emotion So if a scene called for extreme emotion , actors needed to put themselves in the mind set off the character situation so that they genuinely experienced the intense emotion. In order for actors to be able to connect with the character's emotional state, Stanislavsky advised them to reach into their own personal memories and draw upon a comparable life experience. This was called emotional memory. Stanislavsky is work, signaled a shift in 20th century acting and inspired a whole new generation of techniques and teachers. Laurence Olivier and John Gill good were both famous actors who used Stanislavski system.
5. 05: Now let's talk about the stress. Berg technique. Lee Strasbourg's method was inspired by Stanislavsky System on the Moscow Art Theater. He studied with students of Stanislavski and then developed his own technique. He focused on an inside out approach, stirring past emotions from the actor's life that they could draw upon in performance. This became known as Sense Memory, and Strasburg developed a series of sense memory exercises. During these exercises, actors explore objects, places, physical sensations, tastes, smells and experiences by focusing on how they remember these things through their senses. How you experience these exercises may and usually does differ from the actual experience. These exercises were designed to open the actor emotionally. The very first sense memory exercise that all actors do is the coffee Cup exercise. So this is how the coffee cup exercise works. The Strasbourg would have the act to sit down and close their eyes and then in your mind, visualize a hot beverage that you've drunk before in your life or drink regularly like a cup of coffee or a cup of tea, A hot chocolate. You start to visualize the cup or the mug, or whatever vessel you drink out of in your mind. Once you can clearly visualize this, you then start to explore this experience through your senses. How does it smell? Taste feel What is the touch? Like, Um, and you. You start. Imagine the weight off the cup feeling really feeling in your hand. You hold it and you start to feel. How much does it weigh with this beverage in the cup? What is the texture off the cup? Is it a smooth porcelain or a rough pottery? Is it warm to the touch? How does that feel? How does that make you feel? And you start to question yourself about what's going on in your body. It may trigger off some sort of emotional response that's totally unexpected. But that's not the purpose of the exercise. The purpose of the exercise is just to do it. Whatever results come from, it is just a bonus. We never work for the result. So as you're imagining this cup and you start to explore it, you can. You can taste the coffee or the hot chocolate feel how it feels on your lips on your tongue on your teeth on your palate. Really, really taken time go slowly and really explore every Senso rial experience around this activity, and then you can start to change things around. You can in your mind. You can change the temperature off the coffee. You can make it hotter. You can make it colder and then again start to explore. Does it feel different when it's called it? Does it taste different when it's colder? Does it smell different? You can hold it your ear and listen. Is there any sound associate ID with this cup of coffee? Um, once you've done that and you've exploded in a more literal way, you can then start to explore it in a non literal way. So how does it feel if I put the coffee cup on my eyelid or behind the back of my knee, or in between my thighs? A. To the back on? Because you're doing this in your mind? You can place that cup any way you want. You don't have to hold it like literally hold it the whole time. You can start to imagine that cup of coffee is sitting in the center of your back. And again, how does it feel? How does it make you feel other, any sensations or emotions that are starting to be evoked by this exploration, and you do this for an hour Now you will start to lose focus at times and you can stop. Let it go. And then once you sort of got yourself refocused, you start up the whole exercise again, re visualizing everything. Um, the purpose of this exercise is to start building focus and concentration. And also, as I said, it may trigger off something, and you can start to make notes if it does. If the triggers off any kind of emotion, then you note that down after the exercise because you may be able to use that later on when you're doing a scene or working on something, um, you may find that you probably will find that certain senses are stronger. So some people their sense of smell, they'll smell that coffee or that hot chocolate very intensely, but they won't necessarily visualize it is clearly or they won't feel the temperature as much. Then someone else might feel the temperature really intensely, but they weren't necessarily smell as clearly or visualize is clearly, and then some people will have an intense experience across all the senses. Um, yeah. So that's basically the Coffee Cup exercise. And as I said, this was the very, very first exercise that Lee Strasberg would have his actors do on. Then there are hundreds of more sense memory exercises that would go. You progress more, you do it. So, yeah, so if you would like, you could maybe try this on your own. Um, go drink a cup of coffee or a hot chocolate and then think about everything and then let it go and maybe the next day or later that day, sit down, close your eyes and try to visualize and explore that cup of coffee. Strasburg also believed that actors had to be very relaxed. He felt attention used up valuable energy that could be used more efficiently and that it created blockages that stifle the actor's ability to emote Feli. So he developed a very far a relax ation exercise to help actors relax. In each class, the actor starts with an hour of relaxation and then move straight onto an hour of sense memory. This is very long and intense and helps the actor build up their powers of focus and concentration. Stressful believed script analysis was crucial to understanding the character. And, like Stanislavsky, had actors ask a series of questions about their character. Who, what, when, why and how. He also got actors to build a back story for their characters. He said that to know a character you must know about their past developing a character history will also help you, the actor, connect to the character. He also told actors improv exercises to help explore the characters, relationships and circumstances, etcetera. Once all the analysis and exploration was done, he made the actor ask themselves What would motivate me, the actor, to behave in the way the character does? Was there a time when you felt a similar emotion? What did it feel like? Think of your past as it relates to the emotions and behaviors that you have identified and then work out sense memory exercises you feel will help you connect and portrayal character . Truthfully, the method requires intense devotion and emotional bravery. Audiences were amazed by the sense of reality that method actors created. They felt as if they weren't watching actors at all, but peeking into the lives of real people. Some famous actors that studied with Lee Strasberg include Marilyn Monroe, Al Pacino, Dustin Hoffman and James Dean.
6. 06: next, we'll discuss the Stella Adler technique. Stella Adler trained with Lee Strasberg but disagreed with Strasburg's interpretations and usage of Stanislavsky system, feeling that emotional recall was a psychologically unhealthy way to approach acting. Later, she studied with Stanislavski himself and then developed her own technique. First and foremost, Adler believed that actors should be independent, creative, well rounded beings with their own personal points of view and their own unique, strong choices. Stella Adler believed that an actor's talent lies with their imagination. Rather than using personal life experiences and emotional recall to bring characters to life. She encouraged actors to develop their imagination by first observing the world around them in very specific details so they could then create specific images in their mind in order to surround themselves with things that were true to them on stage or in front of the camera. Adler also strongly emphasized the use off action in acting, for example, labeling specifically what one character is doing in relation to another character. Actions are, in this sense, external specific and achievable. For example, if an actor playing character A is having a heated argument with character, be rather than playing the emotion. The Actimates decide. What is my character doing to carry to be and play that action that verb instead of simply being angry with character, be perhaps character, a provokes lambasts or insights character Be this sort of approach promised the actor to be focused and engaged externally and specifically on his or her scene partner rather than internally on a generalized emotional state. Edler students are also trained in comprehensive script interpretation and analysis methods in which scripts are broken down into specific beats and lines of the text are associated with specific actions or verbs. And lastly, Adler valued the cultivation off a rich humanity or holistic engagement with world beyond the theater or film set. She felt that actors should be exposed to a variety of cultural, social, political and historical ideas and experiences in order to become more worldly and well rounded human beings and artists. Some famous actors who studied this technique include Marlon Brando, Robert De Niro, Mark Ruffalo and Melanie Griffith.
7. 07: Now let's have a look at the Meisner technique. Sanford Meisner developed this unique approach in the 19 thirties after working with Lee Strasberg and Stella Adler at the Group Theatre. Like Stanislavsky, Strasberg and Adler before him, Meisner tortoise students to live truthfully under given imaginary circumstances. He didn't agree with Strasburg's interpretation off Stanislavski and created his own technique, which focused more on the relationship between characters and how they affect each other with what they are doing and feeling. He developed his now famous repetition exercise, which was designed to get actors out of their own heads to stop thinking and two rather focus on the other character and respond impulsively in the moment to what that character is saying, how they are behaving and how that affects you. Okay, so this is how the famous Meisner repetition exercise works. Meisner would have to actors either sit opposite each other or stand opposite each other and look into each other's eyes and connect with each other. And then one actor would make a simple observation on the other actor anyone could start. There was no specific order to that. Whoever had the first impulse to start would do that and they would make a simple observation like you have brown hair or you're wearing earrings or you wearing a blue shirt , and then the other actor will repeat that they don't have to think about anything. They just have to repeat exactly what they've heard, And then this goes back and forth. So actor a will say, You're wearing a blue shirt. Activity will go. I'm wearing a blue shirt. You're wearing a blue shirt. I'm wearing a blue shirt and this goes back and forth, back and forth, back and forth, and it can go on for an hour or even 10 minutes. Five minutes. And then something will shift organically without the actor thinking about it. If you're watching this exercise and somebody goes into their head and changes the repetition through a thought process, you'll immediately see it and feel that it's not really a supposed to, and it just happens organically. And that's what Meisner was striving for for this organic, what he called the pinch and the Ouch. So if I pinch you, you ouch! Without thinking about it, you just It's just a natural response. So he wanted actors to do that to each other. He believed that everything we do as actors is is brought on by what the other person makes us do. So he would have them do this repetition and start to build this skill off, being able to really pick up and read off people and how they're affecting you. So in the beginning, this is a very basic back and forth. You wearing a blue shirt? I'm wearing a blue shirt. And then, as I said, something starts to change. You can, either something one of the actors will get frustrated because they're saying the same thing over and over and over again, and or they might find it ridiculous and funny. And then they start laughing about it, and then the other actor picks up on that and it ships the way they say the line and it goes back, it starts to change. Or that my ad in another word. So they get frustrated. It's been going on for 15 minutes, and then one Actors. Yes, I'm wearing a blue shirt, and now the other actor goes, Yes, you're wearing a blue shirt. Now it's changed from you're wearing a blue shirt to Yes, you're wearing a blue shirt, so this is kind of what we call the pile up with just from saying it over and over and over again. Something piles up in your head. Any changes now, There a number of ways that the repetition will change. The very 1st 1 is you always have to be truthful to your truth. So if you believe that you're not wearing a blue shirt and the other actor says you're wearing a blue shirt, then it would change instantly. He would go. I'm not wearing a blue shirt. You may think this is funny, but I've actually seen two people really fight or argue over the color of the shirt that someone who was wearing. But if you stay true to what you believe in, the one actor really believe that there should wasn't the color that the other person was was saying? And that shifted the repetition drastically. So what would happen in that situation is you would immediately go. I'm not wearing a blue should. Now the other actor, if they believe you may respond with you're not wearing a blue shirt keeping you wearing a blue shirt. I'm not wearing a blue ship. You're not wearing a police shit. That sounds like you're right. You're not wearing a blue shirt, or if they don't believe you, then they might go. You're not wearing a blue shirt, so you can see just by how you feeling. The lines don't really matter. Both Strasburg and Meisner and most acting teachers agreed on this. The lines are not important. It's how you say the lines and what's underneath them that's important. So if you're saying you're not wearing a blue shirt or you're wearing a blue shirt, it's the same line. But it's what, two different meanings, the way it's coming across. This then leads into the next level off the repetition. So we started off with just the basic back and forth. Now we start to make observations about what's actually going on behind the lines. So if Actor A has now said doesn't believe activity and you're not wearing a blue T shirt act to be picks up on that and they go, they would not change the repetition. You think online because you're saying you don't think I'm wearing a blue shirt. So now actor B is basically just called actor A a liar. Now actor A might take offense to that and go, You're not wearing a blue shirt and then act a actor big. It's frustrated by that. Now you start to pick up on emotion. There are active a will go toe to be You're frustrated and active. Be will go Yes, I'm frustrated. So now the conversation the exercise has moved on from your wearing a blue shirt to your frustrated Yes, I'm frustrated and it starts to build and go back and forth like this on Deacon. Go on a roller coaster if you ever watch one of these exercises. Amazing, because people are not really saying anything important. But these amazing relationships develop and these amazing dynamics. And you see people go from from getting frustrated to bursting out, laughing to starting to cry, because you start to tune in to how you're actually feeling about what somebody else is doing to you. So when I say you're not wearing a blue shirt, I'm calling you a liar, even though I'm not saying that, and then that makes me frustrated, angry, Whatever. Different emotions for different people will come up, but as you start to tune into these things, you start to really pick up on human behavior. And that's what Miles the sit acting Waas and Stress book acting is behavior. So, for example, you could have a line or a scene where one actor says, Actor a says, Do you love me? Act to be responds. Of course I love you and actor a fingers. That's great. Now, if actor A says, Do you love me? And activities, Motivation or wants to hurt actor A. They go off course I love you or they could go if they really do love them. Of course I love you on, and that will change the way Actor A either says, Well, that's great, depending on the intensity or the intention behind how that line was said. So we can say one thing many different ways and have different meanings. And if you look around when you having conversations with your friends or your family, start to pick up on these things like you might say to someone, Hi, how are you today? I know I'm fine. Everything's good. It's a beautiful day, But if you really listen and you really watch, you'll see Maybe there's something in the way they saying that that saying I'm having a really bad day, but I'm gonna smile and cover up. So that's what this exercise does. It starts to hone your skills at being able to number one, focus on somebody else and be affected by them and read what's going on with them and number two. You start to become aware of how that affects you and how it makes you feel. When people do certain things will say certain things on the Mawr skillful you get. With this exercise, you will pick up. Even the smallest, subtle little twitch of an island might be saying something that's not being said in the words and that will affect you. And when that starts to happen particularly unfold, it creates this amazing dynamic that you get drawn into. And the editors, when they're editing, they love it. When someone, when another actor responders in that moment to something that's happened on screen and those are the most dynamic moments in movies, and that was the whole purpose off off this exercise to really get actors, too, to be affected by each other and to focus and tune in to the other actor and to what's going on inside of them. So if you like, you can try this with a friend or a family member, just get off the set each other, look into each other's eyes and make a simple observation and start doing the repetition back and forth and see what happens. Let us know about it. Meisner then adds an activity to the repetition, so an actor will have to find an activity and then do that activity while another actor starts doing repetition with them. They have to stay focused on doing their activity, but they also have to do the repetition at the same time. This really helps actors develop their focus and concentration. Repetition trains the actor to really connect with other actors. It builds your ability to observe human behavior and emotions and to be affected by even the most subtle change in emotional behavior in someone else, Meisner believed. It's never about you. It's always about the other person. Famous Meisner students include Robert Duvall, Grace Kelly, Tom Cruise, Christoph Waltz and I Am Keaton.
8. 08: Okay, let's talk about the Chekhov technique now. Michael Chekhov developed his own acting technique after exile from Russia brought him to Europe and the United States in the late 19 twenties. Though Michael Chekhov first trained Understanding Slutsky, he felt that the early phases of the Stanislavski system led to acting that was too naturalistic in style. Chekhov decided to uncover and teach ways through which actors could tap into their subconscious minds and the universal experience of mankind. Through various exercises, he felt that it was important that act does not limit their characters by drawing from their limited conscious experiences. He felt that infinite experiences of mankind was stored in the subconscious mind and could be accessed through physical gestures and other exercises that were external in nature. The Chekhov technique emphasizes synergy between the body, imagination, emotions and intellect. It also treats the actor as an artist supporting the most valuable, vulnerable area in the actor, his or her creative individuality. In the Czech of technique, this creative area from which all artistic impulses rise is located in the center of the chest. It is also the area where we feel the uplifting and expensive sensations off love and empathy, which both have a large role in Chekhov's technique by simply acknowledging this artistic centre and opening it. Inspiration begins inside us through this exercise and actor will physical eyes an internal need or emotion through an external gesture. This outward gesture and its accompanying feelings are then drawn back in and internalized . In short check off, any students explored the connections between physical expressions and psychological states . Some famous practitioners of the checkoff technique are Clint Eastwood, your Brenner and Anthony Quinn.
9. 09: next, let us look at the auto Hargon technique. In addition to her work as a Tony Award winning actor, Water Hargon was a beloved teacher, the New York's HB Studio, and authored the best selling respect for acting and a challenge for the actor in early career. She advocated the use off substitution, a technique in which one replaces fictional events from the script with personal events from one's life to create an authentic reaction. Hargon later refined the approach and renamed it Transference. She developed a series of questions for actors to ask themselves when creating a character , and emphasized the importance of being very specific. She also created a series of exercises for actors to do, such as the Object and Fourth Wall exercise. All these questions and exercises can be found in the books I mentioned earlier. Twitter Hargons Popular technique emphasized realism and truth above all else. As part of a long and legendary teaching career, Hargon developed the talents of Matthew Broderick, Sigourney Weaver, Jack Lemmon and many others
10. 10: This action based acting technique was developed by playwright David Mamet and actor William H. Macy and incorporates elements of Stanislavski and Meisner. It involves a four step scene analysis that simply focuses on the pursuit of an action. Practical aesthetics is based on the practice of breaking down a scene, using a four step analysis that entails the following the literal what is literally happening to your character within the scene. For example, my character is literally asking his wife of 10 years for a divorce. The want. What does one character ultimately want the other character to say or do? What does my character want from the other person within the scene, for example, I want the other character to grant me a divorce. The essential action. In this step, you must distill the given circumstances and the actions of your character given to you by the playwright into a universal human desire that underlies the text. For example, if your want is, I want the other character to grow on me a divorce because they are making my life miserable. The universal human desire or essential action underlying that specific want could be to get my tormentor to show me compassion and set me free the as if this relates the essential action to the actors of life, this is often the most difficult step off analysis. For example, if your essential action is to be set free from this awful marriage, the as if could be. It says, If I hate my job and I want to leave and never come back, I need to resign because I deserve to be happy. Unlike other acting techniques, this step is not a memory device. In practical aesthetics, actors are taught that using the memory off past experiences hinders the truth off the moment within a scene. Because you already know how that memory ends, there is a resolution inherently tied to that memory. Therefore, if you choose to use a memory to replicate an emotional response within the scene, you have to ignore the resolution or pretend as if it never happened the practical aesthetics as if it's something that could feasibly happen in your life that has not yet happened. That produces a response within you a spark to involve the actor in the scene. It helps the actor escape the fiction, find the truth and apply it elsewhere. This technique is aimed at making the experience of acting entirely based on the will of the actor. The practical aesthetics asks an actor only to commit his will to the pursuit, often action based on the other actor. Famous actors using this technique include Felicity Huffman, Rose Byrne, Jessica Elber and Cameron Manheim.
11. 11: The next technique we are going to talk about is completely different to all the others. So far, it's the violas, Spohn and technique violas. Poland is recognized as the mother of improvisation, improvisation, teachers, actors to live in the moment and respond quickly and truthfully to their present circumstances to perform spontaneously. It is the ought off being unprepared Spohn and created a series of exercises, which she called theater games. Theater games are very effective because they don't require prior reading or contextual knowledge. Any student can pick them up. Even with language or cultural barriers. The games have a liberating effect, allowing for spontaneous performance within a group. There is no shame and no focus on the individual. Actors who studied this technique include Alan Arkin, Dan Ackroyd and Gilda Radner.
12. 12: The final technique we are going to talk about today is a relatively new technique called the Actors Foundry Technique, the actors foundries of school in Vancouver, Canada. The technique was developed by Matthew Harrison, an actor who studied Meisner at the Neighborhood Playhouse in New York. Although there is an element of Meisner in this technique, Harrison has created something modern and unique. The first stage is script analysis, and Harrison has developed a very specific process to break down the script, which is way too complicated to go into in this forum. The second stage is the emotional stage. This is where you identify the emotional core of the character and what you know about this from your own life. The third stage is the electricity or connecting stage. This stage probably has the most in common with Meisner, but it's still very different at this stage. You do exercises that help you connect to your fellow actor in the scene and to what you want from them and what you want to do to them. Stage for is letting go off stage is 12 and three and trusting that the work you've done in the 1st 3 stages is part of you now. At this point, you surrender to the script and dive into the performance. Harrison has used a lot of modern psychology and neuroscience techniques in developing this exciting new cutting edge technique. Harrison has also created an online course for people who are unable to get to Vancouver to work with him personally. There are a lot of young, up and coming actors working in film and television today, such as Jessica Sutton, Jodi Belfour and Kobe Smolders, who are using this technique.
13. 13 Outro: Wow. We've covered a lot of techniques today, but these are only a few of the many techniques out there. There are thousands off acting teachers and schools around the world, some of them teaching these very techniques we've talked about and some teaching a combination of these techniques or putting their own unique spin on these techniques and some even creating their own unique techniques. I can't tell you which technique is the best for you. You need to go out there and explore them. And also remember that we've only just scratched the surface of these techniques. There is still so much to learn about all of them that I couldn't possibly go into here. There are books available for you to read on a lie. These techniques, plus many more. There is also tons of information available online, so you can research these and other techniques more thoroughly. And if you want to and can afford it, you can apply to the many schools and acting teachers around the world. Toe actually go and study these techniques in debt. Unfortunately, you can't master any of them overnight. It takes years, maybe even a lifetime to master them please be so kind to rate review and share this course with your fellow actors as it helps us to create more content for you in the future. I hope this video has been helpful and I wish you all the best in your acting career.
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