By Declan Donnellan
This immensely well known and ever-practical booklet on performing takes a scalpel to the guts of actors’ continual fears, supporting them to free up their expertise on level. it's user-friendly and unpretentious, with a spirit of inventive and private freedom.
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Additional resources for Actor and the Target
Bad news and good news This is the first example of a useful principle: bad news for the character is always good news for the actor. There is a distance in space between Juliet and Romeo. When bidding farewell, she may yearn to cling to Romeo. But for Irina, the indestructible distance between Juliet and Romeo is immensely useful. For Irina can reach and reach to prevent her new lover from leaving. This unbridgeable distance may be Juliet’s enemy, but it is Irina’s friend. For Juliet may want there to be no distance.
But in fact there is no actual need to worry. Well, how can there be, when ‘worrying’ is the cause of the problem? It is normally prudent to take precautions. But worry is always imprudent. Fear can be dealt with. But first of all our Fear needs to be acknowledged and seen. And it is better if we can prepare ourselves when cool, rather than when we are choking in its grip. Only by seeing Fear can it be thought about, objectified and overcome. This may help. A fable: the Devil Fear is like the Devil.
The target can be real or imaginary, concrete or abstract, but the unbreakable first rule is that at all times and without a single exception there must be a target. ’ The actor can do nothing without the target. So, for example, an actor cannot play ‘I die’ because there is no target. ’ Being Some things we can never act. The actor cannot act a verb without an object. A crucial instance is ‘being’: the actor cannot simply ‘be’. Irina cannot play being happy, being sad, or being angry. All an actor can play are verbs, but even more significantly, each of these verbs has to depend on a target.
Actor and the Target by Declan Donnellan