Relaxation
“So you see” Said Tostov “that in order to answer my questions you had to let down the weight, relax your muscles and only then could you devote yourself to the full operation of your five senses. Doesn't this prove that muscular tautness interferes with inner emotional experience?”
Ref: An Actor Prepares P84
Relaxation is the process of removing tension from the body and bringing the mind into the moment. It is important for actors to become relaxed when rehearsing, creating character and performing. The tension restricts the movements and limits the expression of body and facial movements. If an actor is tense, this restricted movement will effect their performance and be noticeable. The actors movement will become rigid and robotic. For example, if the actors face is tense, they will not be able to perform full an accurate facial expressions and it may also be a strain to the actor. The same also applies to the body. To become character, the actor needs to become malleable and flexible in order to perform the actions and movements of the character. The range of movement of the actor limits their movement capability.
The voice will also be effected by tension as it is also controlled by muscles. When tense, a persons voice may become higher and it will be difficult to manipulate the voice to perform the various tones and accents require with characterisation. Vocal warm-ups should therefore be considered a part of the process of relaxing the body in preparation for the performance.
Mindfulness clears the actors mind, bringing them into the moment and allowing their thoughts to become more fluid. When relaxed, the actor will be much more open and imaginative. When performing, the actor needs to be able to become into the moment, not just of the their reality, in the theatre, but the reality of their character. A persons mind could easily be elsewhere, full of worries or concerns in regards to the performance of life issues. When the mind is full of these thoughts, there is no freedom for new ideas. It is also impossible to relate to a character, or utilise the imagination, if the mind is focused on personal concerns.
In terms of relaxation, there is also the loss of inhibition. If you are able to relax, you are less concerned by inhibiting thoughts and become liberated. You are more prepared to go wild and go to the extremes needed to perform in public. You will put yourself out there and do things most people would never do in public. This can only be achieved through the relaxed mind. I'm dressing up as a woman in public which is opposed to my normal way of dressing, its wild. I could think 'this I embarrassing?', “I don't want to be seen like this', the relax mind will take the thoughts away from this and become more focused into the role of the character. I am the woman, I am in this cafe, these are my clothes.
There are many techniques that are useful for achieving the relaxed state needed for acting in character.
Yoga is an exercise technique that is useful for mind and body. Yoga use a number of stretches and poses to help stretch and relax the muscles. Focus on the breathing further stretches and opens muscles, whilst allowing the persons attention to come into the body and breath. Mediation allows the person to free their mind of thoughts. When done in a quiet, peaceful setting, with singing bowls its can be very beneficial. A yoga practitioner leading the workshop can enhance the routine, as they can lead the others into the story of the routine and then encourage them to enter their imagination. They may ask them to imagine they are on a tropical beach or somewhere tranquil. A person will be able to use their imagination to imagine they are somewhere else and this can bring peace to the mind. This shows that there is a link between relaxation and imagination, when we become more relaxed, we are more open to the imagination. Mediation and yoga are long term practices and each has its own challenges, but they should be utilised everyday to help with tension and relaxation in order to gain full benefit from the exercises.
Thought challenging techniques are useful for challenging negative thoughts. As actors, we don't always have time to perform a yoga routine before performing, we have to use other methods to help our minds relax. Our tension is often cause by negative thoughts in regards to the situation or ourselves. The thoughts of the situation and not the situation itself are what cause the stress. When we have a negative thought, we will react negatively within our body and release stress hormones. By challenging the thought, we mentally talk to ourselves. We may question the thought, 'why am I having it? Is it even true?'. We then use thoughts that tell a different story, positive thoughts that help us relax and feel better of the situation. This technique can be applied to learning character, we feed the characters situation, we have the characters thoughts, and we then begin to feel the the characters experience. I don't like Cricket, but my character loves it. Therefore, if I watch a cricket match in character, I must be enthused by it as if I am the character. I would apply thoughts that are in context to the character. I don't tell myself “this is boring”, instead I tell myself “this is amazing”. This shows that realism and naturalistic acting is not only an art form, but also a psychological process.
Relaxation is required in able to harness most of the techniques used in realism and naturalistic acting. It is only when our minds are clear and focused into the moment that we are able to imagine and access specific memories. If we are applying emotional memory techniques, we need to be able to recall a particular experience where we are tapping into that energy. If our minds are distracted, we can not access that memory. When we have have cleared our thoughts, we can choose where to go. I am able to go into that memory either by a mental process, telling a story or being asked questions of that experience.
There are many other useful tools for relaxation, but socialising can be helpful. If around the right people, they can help take the persons mind away from their own thoughts. Even watching TV, gaming or going for a walk can be simple but helpful relaxation tools or used to bring our minds into the present moment. A big part of acting is being able to not take things too seriously and have a laugh. An actor needs to be prepared to do what is asked of them, regardless of how shocking it may seem. This part of the job. Performances may be tense and use anger and other distressing emotions. Therefore, being able to relax and let go after the performance is important to dispersing the energy of the characters. Laughter is an excellent tool for relaxation and bring someone into the present moment and should be consider a tool in an actors relaxation tool kit.
Concentration
The concentration of attention of the character will change during the scene. The attention of focus of the actor will change in regards to their emotions and interaction. For example, their may be a prop or character they are focused on. They may also be focused on their own thoughts and internal reality, or on the whole word that surrounds them. An example of how to show levels of focus, is to use lighting. If a single spot light is shone onto the actor, only that actor can be seen. They will not be able to see beyond the spot as the rest of the theatre will be in darkness. Their attention level can not go beyond their own body and therefore focus would be on the self. If the spot light is widened, it will reveal an area of stage. There may be props, scenery of other characters. Beyond the spot is darkness and attention would be towards something within that area. If all the lights in the theatre are turned on, all of the theatre including the audience, the actor can now see further and beyond the stage and towards the back wall. If they are outside, their focus could go to he actual horizon.
These are the rings of attention. They are not an envious technique, where I go on stage and I am in this ring, or this ring. The technique is useful for considering the characters inner and outer world. By exploring a scene in each ring, the actor builds and understanding of the script. They are able to discover that during different parts of the script different focus of attention is required. Also, different emotions would use different levels of attention. Someone enthused may be performing to the world, where as someone depressed, may be more self focused. A character may be directed to perform a certain way, but the character should also look to use attention to infer their emotional state. For example, they may spend their time in a certain ring, but occasional change their attention towards characters or the world depending on their reaction to scripts or actions of the scene.
Imagination
The imagination is pivotal for an actor. There are some many areas in which an actor needs to use their imagination and relaxation is fundamental for being able to access our imagination. This is why practitioners such as Stanislavski, Meisner, Chekov and Strasberg use relaxation techniques as part of the process for training actors. Fundamentally, the actor is playing a character that is in a imagined situation. The actor may be in a theatre or on a film set and not actually going through the same situation. In rehearsals, they may use only imagined props, costumes and makeup. Therefore, the actor needs to be able to imagine that they are in the place, only in their mind, without even material applying the vision to the character and scene. Imagination is needed to dissect the script and create the character. The script only provides so much details, given circumstances, to base the characters back story and personality traits. The actor finds what they can in the script and allow their imagination to fill in the gaps. The is essentially what the imagination is, a process that's fills in the gaps in our knowledge. We do not know these other details, the subtext of the script, we may see patterns or important details to build the character from. Its only the imagination that allows us to reveal these 'hidden' secrets.
The imagination comes from the world of dreams and paranoia. Our ancestors were under constant threat of danger or threat. Whilst hunting or foraging in dangerous locations, they would be constantly alert and looking out for threats. Their paranoia would see them imagine a tiger or a venomous snake that turns out to be a bush or vine. This paranoia, is a negative imagined situation, it may happen, but it is not actually happening. They will still posses the feelings as if the dangers exist, even if they are not actually under any threat. This is acting. I am in situation that is imagined, but still feels like its actually happening. There only escape from the danger of reality was to sleep and dream. The dreams would take them into multiverse of worlds, possibly more terrifying than their own, but they know they will wake up safely. Waking up from a terrifying nightmare perhaps even helped create feelings of safety when waking up.
These dream nightmare situations may have even become stories in a time when we had little access to information. "You think this is scary, you should have seen where I went last night.....".
Due to evolution and development of civilisation, we have been able to nurture our paranoia and dreams into what we call imagination. The imagination is integral for an actor in developing a character, finding subtext, rehearsals and generally performing in plays. The imagination is required for going into a minimal setting and putting yourself in the situation. Its useful for emphasising if we have no experience, as we can imagine ourselves in the situation of a person or character.
The imagination is often important for the creation of plays and stories. A writer will imagine situations, either realistic or fantastical. We need an imagination to visualise a story or script. The imagination is often required to feel the performance, to gain from it as a member of the audience.
To use our imagination, or to develop it, we do things that require imagination. The best sources are to read, write or play. We can also go out into the world and see that place as somewhere different. We are at beach and we imagine Pirates, D-day, or an horde of Mongolians swarming from the ocean waves. If we are truly gifted, we can imagine Western Super (Night) Mare as paradise. We can interpret people people in a conversation that is unheard, and allow our mind to crate our own version of the conversation.
The imagination is information we generate, fluff that is created to fill the gap in our knowledge and senses. When we can see people speaking, but not hear them, this creates a void in information. The information we then may create to replace the conversation, is imagination. We question our selves, what could they, in certain situation, be talking about? Who is this character? What is their life like? As the person, the writer, the actor, is creating the conversation from their own perspective, their understanding of reality and their imaginations, distorts the real life people into new characters.
Using the imagination is not a specific technique, its a natural process. We are born with it and its most active when we are young. We are born with only a limited experience of reality, so our perspective of the world is mostly imagined during this time, just like we can only imagine being a new born child. Part of this, that as our real world understanding grows, the gaps in our knowledge expands, therefore we require less use of the imagination in life. Therefore, its more important to play and partake in imaginative activities as we get older. Otherwise, life becomes stagnant, repetitive. We are unable to see anything beyond our world. We are unable to dream. Therefore we must nurture imagination in order to become actors and even live a unique experience
Objective/task/super objective/super task
During life, most people have something they most want to achieve in life. They want a certain job, car, house, holiday, etc. This is their dream or ambition that drives them through life. Each person will take steps in order to work towards targets that help them accomplish their ambitions. Stanislavski incorporated this into the system, and decided that characters must have a 'super objective' to which they are trying to achieve. This could be during the play, or it could be their primary life objective. However, even if they are not achieving their super objective on stage, the performance should indicate that they are trying to move towards their super objective. Stanislavski broke down a characters steps into objectives. These are the small goals a character is trying to accomplish during each scene. The objective may be simpler, but it should show a step towards the super objective and not just an action. If I am trying to meet a new friend, my objectives would be my characters actions that move towards this goal. I will go to places to meet new people. Other actions that do not steer towards this goal are not objectives. When exploring the script I will need to look for my characters objectives and super objectives. Most of the time, this is not obvious or written into the script, but needs to be instead develop from understanding the situation and the character. Each character is different and as the actor develops the character they will decide what their characters super objectives in the script and how their objectives move towards this. However, it needs to be based in line with the script. A characters mission needs to be representational of the character and story. When we develop our objectives and super objectives we will look at the characters life story. What direction are they heading? What are they trying to do? Not what are they doing in the scene, but what are they trying to accomplish through it? They maybe doing something trivial or routine during the scene, but some part of their performance must relate to where they are trying to go. If I am trying to get to the the airport, I need to get a taxi. I need to have my luggage packed and will need to have my tickets and passport ready. However, during the scene, something else maybe happening. My characters progress will need to show them dealing with the actions in the scene and also at the same time, include their objective. If they are having a conversation that does not relate to their objectives, the character would become disinterested in the conversation. If they are busy, they will be trying to rush the conversation. If they are aimless, they maybe more involved in a meaningless conversation. The objectives is not always spoken, but they can be implied through the characters reactions to the dialogue and situation. The super objective is what the character is driven by. They may be in a difficult situation, but it is their objective, their mission that keeps them going. What is it they desire most? They are willing to put more energy into achieving their goal, their focus and attention will be towards their goals. Everything else is like a distraction.
During the scene, a character will never just move linear from A – B. Their are small changes in the script, in the movement of the character. If they will walking home from the shop, they may stop and observe things in shop windows. They may see a bird flying between trees. They may see a friend and wave. Their mission, their objective is to get home. But each of these changes are what are called a Unit. The Units are used by an actor to break down a scene into the various changes within a scene.
Action
The Action refers to verbs that can be associated with with a character at particular moments in the script. What is the character doing in this particular moment? Are they searching for a lost item? Are they themselves trying to hide? Is the character venting?Are they in love with the other character? The character state and their movements in the scene can be associated with a verb. The verb may be associated with a vocal expression, but verbs can also help break down the actors action during each moment. Not all verbs are considered useful for actors. I'm not sure a specific word can be applied to every moment and some description or combination of verbs may be more useful. It does however encourage the actor to study the script and identify their characters actions through a scene.
The following website contains examples of action verbs that are considered useful for actors:
Given circumstances
A script will never provide every detail for the story and characters in the play. The script will contain some information that helps provide an inclination to the world of the play, but sometimes, particularly with playwrights such as Pinter, the details can be limited. The details in play that provide references to the character and their world are called the 'given circumstances'. This name implies the importance of the details, that these are FACTS and not just interpretation of the script. Details of the world may include the location (country, city, area, etc.), era, style, props and scenery. What is happening? What is the world like? What is the social political structure of the plays reality? The details may also provide information on the character. What is their name? Age? What hobbies and interests do they have? What is their favourite colour? What clothes are they wearing? What is their job? What is their social status? Each detail may seem insignificant, but when placed together they can form a fundamental basis for the character. Small details can tell a lot of a character and easily built upon. If their favourite colour is red, they may wear red clothing or makeup. They may like red flowers, food or a red sports team. It may suggest they get angry, sexually aroused or embarrassed easily. They may work in an A and E department at a hospital, because blood is red and there is a lot of blood in A and E. They may enjoy watching sunsets or walking in the park in fall. A hobby provides details on places they may attend, such as venues or the different people they may associate with. If they have a risky hobby such may cause injury, does the character carry an injury? The given circumstances need to be integrated into the play for the play to remain true to the original script. It is the addition of the actors imagination and the directors vision that make each production of the play new and fresh.
Adam lad a Stanislavski workshop during the class. The workshop evolved exploration of character and script. We looked at the details of creating a character through movement. A character will have specific attributes and this will effect their movements. Characters age, posture and health can effect their movement. Each character will move different depending on their natural body and other variables. The differences in how the character moves defines the physical representation of the character. Just because someone is old, doesn't mean they are slow or hunched over. They may be strong or weak, it depends on the character.
This is the physical outline of the character, but details of the character need to be explored via the script. The characters details are provided I the script and this helps develop the story. The basic story of the character we can form from the given circumstances allow us to explore and find their objectives and super objectives. Adam lead a workshop that provided support in regards to exploring the script and finding the characters objectives. Through this I realised that it is not something that is obvious but needs to be discovered when researching the script. The actor will needs to use their imagination or read patterns in the story I order to create a natural super objective if this has not been indicated otherwise in the script. The super objective will relate to the characters story, they are in a certain situation in their life, their super objective is where they want to be. The script provides the indicators and the objectives should be worked into the script via subtext. The workshop was very helpful and I was able to take the advice and apply it to the script to help find the objectives and super objectives for the characters.
Emotional memory (The Method)
When becoming character, I think it is important not to strip everything away from the actor, to the point where nothing of the actor exists. The actor is the foundation and the putty that the character is made from, hence something of the actor must remain. The actor may posses characteristics that are not suitable for the character, but they also may share qualities. These shared traits should become the basis for the character. The rest of the character fills in around the empty spaces. If the actor is able to bring more of themselves to the character, the performance will be more naturalistic. For example, if you are playing an alternative gender, it may be easy to fall into stereotype for the character. So I begin with seeing parts of me that can be used in the character. I then develop the character, I lose everything I do not need and it becomes fluffed out by the character part of myself. I do not believe we are 100% true to the imagined character. If I am playing a character from the 14th century, I still know I am living in the 21st century. In reality I am this person born on this date. Even if I have created the feeling that tells me otherwise, I have changed the character program. I consider creating character closer to renovation than a new build. Regardless of what becomes of the new house, some of the original house still remains. At end of the show, it can take time to adjust and we may even take on some character traits that have been created.
An actor needs to know themselves before they can become character. If you do not know yourself, can you not create new characters, you do not posses the knowledge even of yourself. A person can not expect to know themselves completely, but they will test themselves through life. They will have put themselves into various situations which challenge them and help them discover new parts of themselves. It could be as simple as starting a new class or joining a shared interest group. It could be from relationships, or living in new places. Various other life experiences such as illnesses or addictions, could also contribute to a person character understanding. When we go through these experiences, they also change our character, so the more life experiences we have, the more we evolve. For me, starting the course has allowed me to find new parts of myself and new interests which have changed my character. My behaviour and appearance has changed to reflect this. I am now mostly interested in only performing based activities such as acting, singing and dancing. I am also interested in attending theatres and seeing live performances. I am more comfortable performing in public. The experience changes the person and as they change, so will their life. A character is developed in a similar manner.
When we have changed as a person in real life, perhaps many times over, for better or worse, we now posses the knowledge to create new characters. Having discovered how to change as a character, I have useful experience that can be applied to creating characters in performance. I also have the juice, I have the experience of living through situations and changes. I have been through many negative and positive experiences in my life. I will have an emotion attached to these situations. I have the emotional memory of living through the loss of a parent or a loyal dog. I have the experience of falling in love and heart break. If I have the memory of losing things, money, a job, losing my head. I will have many other experiences and emotions attached to them. All of these experiences can very useful for an actor, for example, when I am trying to use a certain emotion for a scene. I will have an emotion that I can attach to the characters situation. I may not have been in the exact situation of the character, but I may have experience an emotion that the character may experience in their situation. When rehearsals, I would have attached the memory to the scene. I would use relaxation techniques before to help me access the memory. I will use relaxation after if the memory is distressing. The more I practice recalling the memory and applying it to the scene, the more freely I am able to access the emotion. I may need to express grief, so I attach a memory of losing a family member or friend a scene where a character has lost someone close to them. When performing, I am able to generate truthful emotions that come from my own life experience. This technique could be applied to alternative situations such as relationships or real life people. We would have been in various situations with friends or colleagues. IN those situations we would experience varying emotions depending on mood , situations or topics of discussions. The memories of these situations can be applied to character. If a character is in an argument during a play, as an actor I may have real life experience of an argument. The argument may vary in tension. I may remember the queues and triggers that allow me to tap into the required energy. I may know people, or have seen people in real life, that may posses interesting traits or be examples of a particular character. IF we have studied the world, we will know that although their may be similarities between people, people also have many individual traits. An older person can be strong and independent. People are not stereotypes in real life. If we have knowledge of different people of different backgrounds, we are able to harness the memory into development of characters. Any life experience and emotional memory is useful for performing because it enhances the actors knowledge and provides them with a broader range of emotional experience.
Magic if (Empathy)
It is important to emphasise with the character. Each person has experiences of life or personality traits that a character can possess. The more commonalities we share with the character the more we can emphasise with them. If my character is homeless, I can relate with them if I have experience or an understanding of homelessness. If I share experiences with the character, I can draw these experiences into the performance. This is the idea of emotional memory. However, before I can use these experiences I have to look deep into myself for the emotions and memories and bring them forward. What is inside me that I can bring to the character? What pain have I suffered? What does love feel like? What was I like in this particular situation? When did something or someone make me angry? Have I been to this place? How did it feel? What was the place like? I also need to have lived through experiences to have them. However, we can emphasis with people. We can think of the situation where I may see a homeless person and emphasise with them by imagining myself in their situation. How difficult it must be to live on he street? The emotional issues they have to deal with? How do they stay clean if possible? We are reminded that even if we think our lives are bad, what we have may be considered luxury to others. Having emotional experience and the ability to feel emotions generally are essential for creating representational performance. Little do we think of others, especially if our lives our busy or we have our own problems to deal with. This is not a bad part on people, it's just life. We can not be everywhere at once. When we think of others, we form connections in our mind that we are able to relate too. Actually, this could happen to me. I could be in that place. This allows the actor to supersede their own personality, as they are literally creating new connections. The greater the connections, the more we can emphasise, the more we feel with the character, the more we react to the words.
I am now finding how to enter into different emotional states, to get into character or into the moment. It relies on a communication between the thoughts and body. If you are an actor in a performance, you may be on stage rehearsing. It may be cold, black and completely alien to your characters situation. When we are in a certain mood our thoughts will reflect this. This is YOUR reality. When we are in a certain place, our thoughts will also reflect this. To enter character or to enter emotional states, the thoughts need to change to reflect the situation of the character, the characters reality. I am this character in this place, if I am feeling this emotion, I am interested in these things, my thoughts as an actor needs to reflect this. If my character is sad, I tell myself, I am sad. I will begin to feel that emotion. It may take time to develop this connection and it can be difficult to overcome obstacles that prevent us from doing so.
Representational acting is letting go of yourself, your ego. Remembering that you are not central to it all. You are merely a vessel to the character. You are literally representing that character, Good or evil, you must allow the character to possess you like a spirit. You become its willing subject. A lamb to its whims. You did not say the words, you are not in the situation, the character is. The ability to enter character, to be taken over by character, determines a persons ability as a character actor. You longer exist in that moment only the character.
Creation the a back story is the most essential technique to coming into the characters present situation. The backstory that has been studied by the actor understand the character in relation of the scripts is everything that has brought the character to the situation of the scene. Without a back story, the actor is jumping into the dark. Sure they may be able emote feelings, but they will not have set up the foundation that brings them to be able to relate with the character and script in the moment.
Tempo-rhythm
Every person has feelings and emotions. Their may be thought processes going through their mind. Their thoughts and emotions may effect their physicality. Often in life we mask our emotions as we resume our everyday business. Acting is not so different. A character may be performing a set of actions during the scene, they may have to deal with certain situations and may speak words not directly representative of their inner feelings. However, the character is still feeling that emotion. During a performance the actor must tap into these emotions that are created from the situation and express them through the character.
Before entering the scene, the actor would have created a back story for the character and studied the world of the play. This is done in order to allow them to empathise with the characters situation and bring them into the characters present moment. Upon entering the scene as the character, the actors emotions will change throughout the scene. The emotions may vary in pace and intensity. The emotions are those of the characters. Stanislavski techniques would then encourage the actor to express the inner emotions of the character. When the character is happy, their physical actions would be expressive of this, just as they were sad or angry. Their external tempo and rhythm must be reflective of the inner change. This is done to create a natural and truthful performance. We aim as actors to feel the characters emotions of the situation. We then express these feelings through the character. When we are able to feel and express the characters inner emotions, we are acting truthfully in the moment. We are not merely presenting the emotion, but instead allowing the emotion to emotion of the moment to consume the actor. Truthful emotions are more powerful, as often the energy can be felt by the audience, which will make the performance engaging and memorable.
Method of physical action (Chekov)
Associated with empathy. Actions that develop a character. Gestures. Psychology of action. Action creates feelings and emotions. Chekov. Actions associated with the character and certain emotions. The actions help the actor the create the emotions desired for the scene. When the actor in character, performs the action, this actions triggers an emotional response. If the actor clenches a fist, it may indicate anger. When the character looks away for a brief moment, they are ready to say something off the mark. Each action can be applied to different emotions and the action should be specific to that character. In stage its easy to fall into the traps of presentational, or mechanical acting. Their are assumed presentations of each emotion and these can be accurately portrayed. However, most of the time, they are assumed of the actors version of those emotions. They may be accurate, but they are not of the character and they are not truthful emotions being expressed. When playing character, their version of each emotion will be different. They will react or act in different ways. When angry, they may pace or yell, they may even be quiet but tense. Through physical action, we are able to generate physical actions that are specific to that character. We then assign a particular emotion to that action. This allows us to develop emotional responses with consideration to character. This emotion is also a truthful representation of character as it is emotion based on their thoughts, feelings and actions being expressed, and not the actors.
The process has some connection to anxiety and Cognitive Behavioural Therapy. With both of these we are using our thoughts to change our emotions. With anxiety we are reminding ourselves of negative past memories and reliving the emotion of another moment. Anxiety may also reflect the present moment, but the negative side of the existing moment. Our emotions change and also our actions change with it. We may choose not to leave our rooms, to stay trapped within ourselves, or become angry of the situation. With CBT we use thought challenging techniques, such as positive self talk, behavioural activation, and mindfulness, to bring our minds into the present moment, or to break away from negative into positive thinking. We are aware that our negative thoughts create a cycle that lead to negative feelings and emotions. These positive emotions also change our behaviour and actions. We progress towards following our objectives and exploring the world in a new light. Our thoughts, that we have created, have a created change within us. We are still the same body and soul, but we have changed the character program. Therefore, to become character, the process of feeding ourselves with the characters story and traits, their situation, the scene, will also change our emotions, our connection to character. To further enforce this, we use external application of character. We learn the actions and behaviours of the character. We train our bodies and voices in the character. We use our bodies as a tool to take on the characters personality and embody it. When we are trained in the character, both the mind and body, when we are performing, we are able to react to the imagined situation as if we are in it. We are not simply recalling the script, but we are acting out our characters life. Other tools can be used as to alter emotions or to find the emotions of the character. Music has an effect of changing emotions, as the mood can change to reflect the music. When we want to explore a general range of emotions, we can use music that relates to that emotion. Dance music will create upbeat feelings. Dark academia may create feelings of sadness. Songs will have lyrics that further enforce the music. Music can also be applied to character, what music/song most resembles your character? The music can become part of the characters inner world. Their unseen reality, that exists within the characters mind. With melodrama, the music could actually be played to the audience. However, with naturalism and realism, the music exists within only the characters mind and can only be heard by them. The actor may instead reflect the music when performing as the character.
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