“The capacity to take infinite pains is the most intelligent definition of genius.”
This is not an easy job, actually let me rephrase that, this in not an easy art from and the environment sucks…most of the time the director is crazy, the partner is a narcissist or plain unprofessional, the director is a control freak or believes he or she is a god, the teacher is a half wit , or a dictator, you are unwilling, or risk averse, who loves pain? I mean come on…nobody loves pain…but in this profession it comes with the territory, at least some of it does, the exposure, the waiting, the comments, the criticism, the craziness, the conditions, the psychology but…all these are elated when one steps on stage, when one feels the flow, when one hears the laughter of the audience or the gasp of air and the followed silence that allows that heartbeat Echo in the proscenium. You must be able to Handle the pain. Nobody promised otherwise, even thought I don’t wish those pains upon you…now let me end with this be careful of the pains YOU inflict unto others…that’s all.
“If your basic preparation is grounded you will not grope.”
In Greek we have a beater term «έσο έτοιμος» be prepared, just be ready….
“You so often substitute nervous energy for true emotion.”
Here Demidov has a better term “motor storming” don’t confuse nervous energy for mood state or emotion.
“A thing is never right unless it evolves itself.”
If you think you found how the character is played and thats what you keep repeating every night, then you haven’t found the character, just the characterization.
“You must definitely construct your character.”
I know it goes against the Demidovian grain, but sometimes the character must be constricted…Chekhov was a genius at it!
“If the mechanics of a play do not evolve themselves through human impulse, through contact and response, there is never illusion.”
What he means is you’ve done the work, you’ve done the blocking, the line Reading, the character construction etc Now unless you let this go and follow the urges and the flow then you are just a trickster (mind you some days you will definitely be a trickster and that is absolutely fine!)
“You are using your rehearsals for mechanics about three-quarters of the time, but the mechanics are the least part of acting.”
Use the rehearsals to risk, and to experiment and to let go not just construct!
“Develop the sense of rhythm of a scene.”
I would say of life…
“Your greatest weakness is in your contrasts. They are anemic. Your contrasts and gradations are left to chance. They must be carefully planned.”
Polarity, polarity, polarity !
“Get the fundamentals of your character.”
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“The wise actor gives his character all the charm, attractiveness, beauty and sense of humor that his text will possibly permit.”
Again be careful, don’t read only the first half of this phrase like an idiot, the true nugget is this “that his text will possibly permit” meaning in circumstances! NOT ARBITRARILY !
“Avoid thoughts of cues and stage business as you would poison. They are equally fatal, absolutely fatal.”
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“You must not stiffen. You cannot play the piano with stiff fingers, neither can you play a character with a stiff brain. The minute there is the slightest sensation of tightening anywhere you may be sure it is wrong. Stop. Relax.”
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“Lack of poise, physical or mental, deprives you of a base to work on.”
“When you are willing to imitate other actors it is a very bad sign. You should strive for individuality.”
Don’t imitate, don’t copy — instead steal!
“Gold does not come out of the earth ready to go to Tiffany’s to be made into jewelry. It has to be made ready. Do not allow yourself to be discouraged.”
PRACTICE!
“It is better to be crude and sincere than to be refined and insincere.”
True… I love how the tea her now balances the idea of charm he has been selling with the true rule WHAT EVER YOU DO IT MUST BE SINCERE OR ELSE…
“Real progress cannot be made until rehearsal processes are improved.”
Most directors have no clue how to rehears and most actors don’t know either!
“You must never allow yourself to go through a rehearsal mechanically. You must give everything you have to every rehearsal or you cannot grow in your part.”
Don’t beat around the bush in a rehearsal, if the scene is too big and it looses power after a while and you are now mechanical, just break the scene into smaller parts and work on those…
“The minute you go contrary to the author’s instructions, you defeat yourself.”
I don’t have anything to say…the sound of the Mic dropping was deafening.
“As a rule, dress comedy in light colors.”
If you are in a comedy play in a comedy…don’t worry about the dramatic parts in it those will take care of themselves!
“Real freedom comes only from knowledge.”
The actors knowledge is not intellectual but experiential ! WORK!
“The only personality worth having comes from impersonality, the absolute forgetting of self.”
Zen!
“The most important thing in acting is normal intelligence.”
In other words don’t be smarter than the character on stage please !
“Trying to avoid making mistakes is the biggest mistake you can make. Don’t be afraid.”
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“There is nothing so harmful as this vain thing of fearing to make mistakes.”
Most of you still hate them…
“Don’t try — let it come easy. If you try it means effort and effort is always wrong.”
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“Concentrate, concentrate, CONCENTRATE.”
More training and drill please…
“Establish the age of your character, his nationality, profession, social standing, temperament; his physical, emotional and mental qualities.”
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“Information applied is knowledge.”
Education without application its just information…information with application is indeed knowledge…applied knowledge is experience!
“Don’t say “Can I? Can’t I?” Do it. Yield. Give up yourself.”
No explanations needed
“A thing must be practical to be usable.”
Also learn how to express what you’re thinking, remind yourselves that if half of the information you want to share is in your brain and only the rest of it is expressed nobody truly understands you, learn to express your ideas in clear concise sentences that make sense and are practical. COMMUNICATE FULLY NOT 50% or you’re always going to be in a turmoil with the director or your partner.
