Tag Archives: Theatre Training

Escaping the default – in acting and in life.

Not long ago I was working as director/ teacher with an otherwise highly promising young actor when in an emotionally intense moment in a scene, something happened. Her eyes went soft and wet, and she looked vulnerable. Her body became tense, and she looked stuck, lost in some kind of feeling . She was clearly feeling emotional but it was completely inappropriate for the role or for the moment. I stopped the scene and asked her what she was doing. She said she didn’t know. I told her I had seen that look from her before both in class and in performance. She told me with a smile that it was her ‘default’ . I had never heard this term before used in this context but it seemed completely appropriate.

What is the default? Well we could call it a ‘trick’ or a ‘habit’ but it is much more than that. It is what an actor does when they have to convince themselves and the world they are acting well, usually when they have lost their way with the character or the moment the character is in. It is a place they go which makes them feel intense. It makes them feel something so, appropriate or not, they go there. For this young woman, for many other people I have taught, and for me too when I was a young actor, this default had very similar manifestations. I would look down and this very intense look would come into my eyes. I would look vulnerable or angry. My whole body would tense up. Importantly I could radiate [project] this feeling very easily which made me feel powerful and convince me I was really acting well. Unfortunately this impression was often enforced by my peers. Looking back now it had something akin to being emotionally constipated and actually having no clue what I was doing at that moment. What’s bad about this is that it actually FEELS good.

The default mechanism locks the performer in what they act and how they do it. It keeps you stuck in your own rhythm rather than finding a rhythm for the character. How does that happen? Sometimes it is simply trying too hard. The default is something more than a habit though, more than just playing with your fingers or folding your arms. Sometimes it is something I suspect deeply psychological, a feeling that the performer has about themselves which stops them from exploring the character as fully as they might. It often comes when we are trying to act something which makes us feel uncomfortable either because we have no knowledge of it or we repress it in our own personality.

Over my years of teaching Ensemble and Devising at NUI Galway I became more and more aware of how the patterns of our own movement restrict and hold us, trap us within our own personality, just as much as these emotional locks which are the default, in fact they are all part of the same thing. And this restriction not only has ramifications for acting but for our everyday lives and development.

Chekhov technique gives us a wonderful opportunity to open this door and free ourselves from the default but like all techniques you can watch the students do brilliant work in workshop where they push their own physical and emotional boundaries (by this I do not necessarily mean weeping and wailing !) but so often they then get a script in their hands and much of the good work vanishes and the default returns. Why does that happen? I feel it is perhaps because somewhere inside us our body-memory pushes us into forms of movement and behaviour which have been there through our lives; because there is something that pops up in our egos that encourages us to show off or accentuate an aspect of our emotional lives which perhaps pushes us into acting in this way. It might also be that the actor is simply lost and goes to that ‘default’ place out of fear or self protection.

This default behaviour can often be witnessed in all levels of production, because one of the first things that happens is that the actors do not truly radiate and communicate to their fellow actors and when watching you get no sense of the energy moving between them. Therefore however intense the actor may appear in their default they are not sharing their experience. Sadly, I believe I watched a good bit of this default acting in the production of Antigone I saw on BBC4 the other night.

When suddenly an actor joins up the dots as someone did in rehearsal for my student production of MORE LIGHT last night and with a wide light opening gesture the character told her story about her revelation about art and society, you sense a door opening and the actor avoiding her ‘default’ and finding a new way to be , not just for the character but also a new choice for herself.

And this leads me on to where I feel the effect of the default can be lessened; by young performers getting a stronger sense of self, not in a narrow egocentric sense but a wider imaginative sense . Exploring the Imagination voice and body primarily is the only way , not merely as a skill set but a way for the young performer to find their range and power both as an actor and as a person. We must  alert people quickly to the power of the imagination to enable them to transform and help them to develop it. We need to assure them it takes hard work, but it is both challenging and joyous.

Of course, in the ‘business’ it can often be the case that people make careers out of their default position. They become recognisable types, able to plumb a degree of intensity, but it is an intensity which never develops or changes. However they can sometimes make a career from it, and perhaps that is what they want. I do not believe that is enough when the work has so much more to offer.

Happily the young actor who gave me the default term and  with whom I began this piece, found new ways to find her feeling and power and gave a splendid and mature performance .

Freedom and Discipline – A visit to Emerson College

Just recently I took a trip to London to visit my publisher, meet my old friends, and visit my friend Sarah Kane, who with Gregors Binch and Geoff Norris, have set up PerformInternational, a new performance training project, which unites the training of Michael Chekhov with Rudolf Steiner. As many readers will know Chekhov was heavily influenced by Steiner’s work, though this influence was diluted, at least publicly, in order to make him more commercial and readily available to a more materialistic public

One of the things I loved about my 36 hour flying visit was the beautiful venue, Emerson College. After a short train journey from London to East Grinstead I was picked up and driven into the countryside. Steeped in its great history of alternative learning and in enormous grounds, some of which were now given over to organic farming, the old White House sits on a slope surrounded by a host of other buildings all of which have their own distinct atmosphere. Many of the buildings house environmental projects, one of them had water purification fountains. There were sculptures at every turn, and I really felt as if I had stepped back in time, and was in a place where art and creativity were truly valued. Sarah took me into a room which was now the centre of the storytelling course, that felt thick and heady with the imagination, with cosy chairs and colourful hangings. It smelt of myth.

The delicious vegetarian food was really wonderful, all made in the kitchens there.

PerformInternational were offering an exploratory week of training in voice and Body. We worked in Eurythmy house, a large warm space. The day was focused and long, and I made my own contribution by leading an hour of centre work and radiating and receiving. A highlight for me was working with some wonderful musical instruments, creating scores and making wonderful sounds together, singing and working with atmosphere, the body and poetry. Something that many trainings ignore is that in order to create you have first to find freedom. Most trainings believe that discipline comes first, but i am not so sure this is true, having seen many instances where the discipline of drama school often alienates the person from their creative nature. Of course you need to create a disciplined  environment where freedom can be allowed to exist, just as you do for a child. Ultimately you have to have discipline in this freedom, but I do not believe it is true that discipline necessarily creates freedom, any more than doing what you want alone creates discipline and focus. Creativity has got to be a balance. Now we can be free, now we can be focused and controlled and now we can do both.

Chekhov trainng in Dartington Hall

Chekhov trainng in Dartington Hall 1936

Later on in the day there was some quite rigorous work on poetry which was the opposite of the day’s work. But this is what I mean, the balance of the polarity of discipline and freedom makes for true release.

At the end of the long day, as  I stepped on the train to head back to London I reflected that where i had been  both physically and spiritually had the feel of those wonderful photos from the thirties of Chekhov training actors at Dartington Hall.