16 Keys to Characterization
1.
Internalizing
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2.
Allows for deeper understanding.
Actors answer the Who? What? Why?
Actor knows how character feels.
Actor can respond to situations as character would.
Externalizing
-How actor projects character’s personality to the
audience.
-Use of interpretation (subtext), nonverbal expression (facial
expressions/body language sometimes including nervous gestures/ticks), and
other types of physical movement.
3.
Concentrating
-Actor’s ability to direct all thoughts, energies, and skills onto and into
the task at hand.
** Remember: The actor is the ultimate multi-tasker!
4.
Observing
-Watching and recording others to incorporate traits and mannerisms
into your character to make your character more real.
-Careful observation leads to the more subtle gestures and nuances in
acting.
5.
Emotional Memory
-Emotional/subjective technique to acting – using your (the actor’s) own
real-life experiences. Then you adjust them to fit into your character.
-This allows for the actor’s ability to feel and project conflicting
emotions simultaneously – laughter through tears, joy when anxious….
6.
Projecting
-The process of conveying emotions, energy, expression to the
audience. A “reaching out” from the actor to the audience.
-Can also be thought of as vocal projection – which includes, but not
limited to, volume.
7.
Motivating
-The “why” of characterization. Why do you cross stage? Why do
you do stage business? Why did you (the actor) do something? The answer
should not be “because the director told me to.”
-Motivation keys off of intent – what the character wants to do.
8.
Stretching a Character
-Making the role interesting and individualized.
-Making your character be distinct amongst the other characters
onstage.
-Not to be used to make the character unbelievable. Doesn’t have to
be taken to ~.
-Primary aim: find the character’s key personality trait and emphasize
it. Cruel? Happy? Sad?
9.
Consistent Inconsistency
-Special personality traits that the actor chooses to emphasize for a
character.
-The inconsistency is what makes the character different from others
– a dialect, limp, arrogance, a laugh. Must be kept up throughout the entire
performance.
-Oftentimes, can double as the master gesture.
10.
Playing the Conditions
-The character reacts to the elements of time, place, weather,
objects, and the mental/physical state of the character.
-Used to influence the response of an actor toward a stimulus.
11.
Playing the Objectives
-The actor’s character must use all ways and means to get the
character’s goal.
-Could be physical – a slap, kick, a kiss.
-Could be mental – a decision, strategy, assumption.
-Could be an object – a key to a lock, a weapon, a code.
-Could be an action – writing a letter, phoning someone.
**
Actor must be aware how character will respond if the objectives are
achieved or if they are not (a “technical difficulty” occurs).
12.
Playing the Obstacles
-How the actor allows his character to deal with certain situations –
tackled head on? Ignored? Denies it? Transfers it?
-Actor must be familiar enough with character so that different
problems are handled – differently!
13.
Playing the Object
-How the actor manipulates a prop or a costume (or the setting).
-Audience learns about the character from how the character
responds through preceding action (actor chooses to unbutton suit before
seating), interrupted action (actor takes a pause and sips his coffee before
delivering a blowing line.…and concluding action (actor slams the door on an
exit).
14.
Energy
-The fuel that drives both individual and group performances.
-Makes the character “fresh” and allows the sparkle and spontaneity to
come through.
**
Not to be confused with frenetic scenes…not all scenes are rushed
and energized….can be subtle yet is there.
-I believe the player-audience relationship brings this out.
15.
Focus
-Directing the actor’s attention, action, emotion, or line to a specific
target.
-Can be a thought for internalization.
-Can be a stage position to focus the audience on a certain part of a
scene.
-Having the actor draw the audience’s attention to something – a
physical pain, a broken heart….
-Simultaneously includes playwright’s writing, director’s staging, and
actor’s delivery.
16.
Uniqueness
-You making the character “yours” -- not an imitation of someone else’s
character or work.