Because I've been so busy the past 18 months, I decided to open up ACTOR oriented discussions on Facebook. This has proved both popular and informative. For your reading pleasure, here are some of the unedited discussions about acting, directing and other theatre/film related subjects. ENJOY!!
ACTORS: Let's talk "tactics." Wild buzz word.
Dave Rossetti: How am I gonna get what I want out of this person....? How many different ways can I try? Instead of asking politely for the watch back...I may just take the watch by force, smooth you into giving it to me, guilt you into it, bribe you, trick you, distract you, .... the plan of ACTION!
Mark Schoenberg: Where do impulses for different tactics come from, Dave? Kinda like the chicken and egg question. Do you think it first? Or does your imagination prompt the action, which is then made a generic part of your performance structure? Or are these actions somehow simultaneous?
Mark Schoenberg: So it's like: Who is this guy who's coming into being through me, based on textual parameters put forth by a writer? It has to be through me, 'cause "me" is all I've got to work with. I can fool around and adjust "me" to move toward the text, but it's always me, 'cause the text ain't got no flesh and blood.
Mark Schoenberg: And so, let's say I fiddle around and adjust my voice, my physical being - maybe I'm doing Rick III - . Does it happen, that my imagination, all by itself starts to fill in some blanks. Like auto suggestion at work. So that "tactics" begin to suggest themselves without any conscious help from me. Is that possible? Is it preferable? Suddenly I've got the horse and cart in the right order, maybe?
Mark Schoenberg: Bubba Watson, long, long hitter - young rebellious golf pro - won The Masters a few weeks ago. He claims he never took a golf lesson, doesn't have a coach. He picked up a club when he was a kid and . . . c'est ca. How is this possible?
Mark Schoenberg: Here's what critics said about Mario Lanza: "superbly natural tenor. . .though a multitude of fine points evade him, he possesses the things almost impossible to learn. He knows the accent that makes a lyric line reach its audience, and he knows why opera is music drama."
Mark Schoenberg: "Hendrix learned to play by practicing for several hours a day, watching others play, getting tips from more experienced players, and listening to records."
Mark Schoenberg: Jimmy "Stewart returned to his hometown to work as a brick loader for a local construction company and on highway and road construction jobs where he painted lines on the roads." At Princeton "He excelled at studying architecture, so impressing his professors with his thesis on an airport design that he was awarded a scholarship for graduate studies; but he gradually became attracted to the school's drama and music clubs, including the Princeton Triangle Club. His acting and accordion talents at Princeton led him to be invited to the University Players, an intercollegiate summer stock company in West Falmouth."
Mark Schoenberg: Errol "Garner was self-taught and remained an "ear player" all his life – he never learned to read music."
Mark Schoenberg "GARY SINISE: We both (Nick Cage) are intuitive actors, we're both self-trained actors. He started differently than I did: he learned his craft from doing movies, I started my own theater company, but we both are intuitive actors, we're both self-trained actors and this self-taught attitude toward it all kind of brought us together. We automatically had some respect for each other, we were both interested in what the other had done in the past, work that we'd seen each other do, so we were ready to go and work together."
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