ACTION

When playing a character an actor must understand what the character is trying to do to the other characters on stage. We must discover what that character wants. In life, everything we do is driven by a desire. To make your acting believable, simply find what your character wants and explore their different methods of trying to obtain it without limitations.

Imagine for a moment that you are playing Juliet (Romeo and Juliet). Juliet’s overarching want is freedom. She lives in a controlling environment where all of her decisions are made for her. The breaking point is being forced to marry a man she does not want to marry. When she meets Romeo she is already looking for an escape route. He provides her with an opportunity for freedom. But what Juliet also seeks is connection. In a very controlled world she is lacking genuine connection. When the sparks fly instantly with this young, forbidden man Juliet is overwhelmed with desires. She will try any method of satisfying those desires. 

While most of us have not experienced the situation that Juliet is in, we have experienced the desire for freedom and we have experienced the desire for connection. The actions that Juliet takes may not be the choices we think we would make but that is the fun part about acting. We get to find the part of ourselves that would make those decisions and explore why. 

Actioning is what takes this theory and turns it into a practice. 

You want something so you take action to get it. When performing, an actor most always performs the words that were written there for them. Where we can get creative is how we say those words. We can decide how we want to say a line based on how we think it sounds best and then attempt to refine and repeat that phrasing night after night, which is a method some practitioners use. This method seems appealing because we are under the illusion that we are in control. We think if we say it a certain way with precision that the audience will believe it and that they will be changed. But in reality, this is a very difficult way to perform. If we say the same lines in the same way each night it takes a momentous effort to make them believable because there will always be a rehearsed and controlled essence to the delivery. 

But, if we keep in mind what we want, we can deliver the same words in infinite different ways. We can build the resilience, presence, and courage in the rehearsal space that will allow us to deliver the lines with the immediacy and presence of discovery. So, instead of rehearsing how we want to deliver a line, we are rehearsing the kind of performer we want to be: flexible, present, and curious. 

In the famous balcony scene, Juliet has to overcome conflicting desires/objectives and a specific set of obstacles. Her overarching desire is to find freedom and connection. But while that is helpful for understanding the character it is hard to play. In the balcony scene she wants Romeo to stay, because she wants connection; but she also wants him to leave, because she fears for their lives if they are discovered. The conflict of these two wants within the given situation is what creates the drama. 

She uses her words to get him to stay and to get him to go. The following passage is an example of this dilemma. The text highlighted in RED is when she is trying to get him to leave. The BLUE is her trying to get him to stay. 

Juliet

Well, do not swear. Although I joy in thee,

I have no joy of this contract tonight.

It is too rash, too unadvised, too sudden,

Too like the lightning, which doth cease to be

Ere one can say 'It lightens.' Sweet, good night.           

This bud of love, by summer's ripening breath,

May prove a beauteous flower when next we meet.

Good night, good night. As sweet repose and rest

Come to thy heart, as that within my breast!

Romeo

O, wilt thou leave me so unsatisfied?

Juliet

What satisfaction canst thou have tonight?

Romeo

The exchange of thy love's faithful vow for mine.

Juliet

I gave thee mine before thou didst request it.

And yet I would it were to give again.

Romeo

Wouldst thou withdraw it? For what purpose, love?     

Juliet

But to be frank, and give it thee again,

And yet I wish but for the thing I have.

My bounty is as boundless as the sea,

My love as deep; the more I give to thee,

The more I have, for both are infinite.

[Nurse calls from within the house]

I hear some noise within; dear love, adieu!

[To Nurse]

Anon, good nurse!

[To Romeo]

                               Sweet Montague, be true.

Stay but a little, I will come again.

[Exit, above]

Juliet’s first obstacle is her situation. Romeo is forbidden because he is a Montague but also because her family would not approve of her meeting a man she is not set to marry by night on her balcony. If she is discovered the stakes are her death. Her second obstacle is Romeo himself not wanting to leave. He wants her and is willing to risk his life just to be there. Her last obstacle is her own desires. She is desperate to be wanted, desperate for connection, and desperate for freedom. She pulls him in and pushes him away. 

There are many tactics or “ways of saying things” that will accomplish our objectives. Take the following line: 

“I have no joy of this contract tonight.

It is too rash, too unadvised, too sudden,

Too like the lightning, which doth cease to be

Ere one can say 'It lightens.' Sweet, good night.” 

Juliet is saying these words to get Romeo to leave. Her tactic or action could be anything. She could seduce him into leaving. She could advise him. She could chide him, ease him, implore him, terrify him, or persuade, etc. The “Actions: An Actor’s Thesaurus” lists hundreds of action words that can help actors discover a new tactic. 

Juliet has to keep trying new tactics to get Romeo to leave. This is helpful for the actor because these words are physical, hence why they are called actions. Persuading someone is slightly different than seducing them. While we may have never tried to get a forbidden lover to leave in order to save their life, we have all persuaded someone. We have seduced, advised, chided, eased, implored, and terrified, etc. These actions are real to us and are what will make the character feel real to the audience, because the audience has all experienced these actions as well. Rehearsing with action allows the performance to be new each night, not only to the audience, but to the actor as well. 

Action is a constant between imagination and reality. 

Action is what brings an imaginary world of a play to reality. It makes it present and physical. 

Each action has a sensation as well. You can find the source of the action in your body. 

This workshop is an introduction to this technique. It will be a physical and communal exploration of actioning.