I was in a film with my human, @eileen.chase! Mine was a non-speaking role, but I took my role as “Gigi the dog” very seriously. To play a dog, I had to be a dog. #methodactor
Congratulations to @urbesgoo on this film which won 1st place at the AT&T Create-a-thon! Follow her for more quality content 😍
In 1945 Brando's agent recommended he take a co-starring role in The Eagle Has Two Heads with Tallulah Bankhead, produced by Jack Wilson.
Bankhead recognized Brando's potential, despite her disdain (which most Broadway veterans shared) for method acting, and agreed to hire him even though he auditioned poorly.
The two clashed greatly during the pre-Broadway tour, with Bankhead reminding Brando of his mother, being her age and also having a drinking problem. Wilson was largely tolerant of Brando's behavior, but he reached his limit when Brando mumbled through a dress rehearsal shortly before the November 28, 1946, opening. "I don't care what your grandmother did," Wilson exclaimed, "and that Method stuff, I want to know what you're going to do!" Brando in turn raised his voice, and acted with great power and passion. "It was marvelous," a cast member recalled. "Everybody hugged him and kissed him. He came ambling offstage and said to me, 'They don't think you can act unless you can yell.'" After some bad criticism during the first pre-shows, he received better reviews at subsequent tour stops, but what his colleagues recalled was only occasional indications of the talent he would later demonstrate. "There were a few times when he was really magnificent," Bankhead admitted to an interviewer in 1962. "He was a great young actor when he wanted to be, but most of the time I couldn't even hear him on the stage."
I have so much love for Soma and Agni and those feelings will never die. I've fallen out of this fandom so many times over the past decade and every time I come back, I get so damn excited seeing these two appear left field, no matter how small or random the cameo. I started rewatching the Book of Circus Arc and forgot they were still living at Ciel's spare mansion in London. I picked up the manga again and bam, they're merely pages into the Blue Cult Arc. I always love seeing what new outfits Soma will be parading around in next.
I also really love the cultural relevance and accuracy that India's portrayal is, especially during that historical time period. I've always loved the country and culture, so Kuroshitsuji making use of the tea trade really excited me. Also, Sima and Agni presenting various ethnic foods from their homeland with passion and love is so moving and educational.
Being able to cosplay with and play off of my own Agni was such an entertaining and memorable experience. We spent half the photoshoot laughing over dumb things and had more outtakes than legit photos worth sharing. Our big smiles and stupid grins filled my heart with happiness. Our chemistry was absolutely perfect for my beloved Indian duo. ☆
Beginning actors make mistakes. Mostly it’s because well, they’re beginners! I prefer thinking of them is missteps rather than mistakes – they are things the beginning actor hasn’t considered. And it’s always a great time to change that! If you’re a beginning actor, if you teach beginning actors, review this list and take a step in the right direction. Every misstep provides at least one way to solve the problem.
1. FORGETTING YOUR AUDIENCE
Beginning actors often think their acting space ends at the lip of the stage and that no one in the audience can see them when they stop talking. Beginners talk directly to other actors forgetting that the audience needs to hear them too. Beginners often turn upstage
leaving their backs to the audience. They break character whenever they’re not talking.
How do we solve this?
Think of the audience as your acting partner and part of the scene. You want them to see, hear, and engage with you. It doesn’t hurt to remember the three-
quarters rule either. If you’re standing still, three-quarters of your body should be turned toward the audience. This way you can connect with the audience even if your head is facing upstage. Focus on
connecting to the audience and you’ll always face the right direction.
2. ACTING WITH THE VOICE AND NOT WITH THE BODY
Beginning actors spend so much time thinking about their lines and their blocking, they neglect to incorporate the physical world into their acting prep.
It’s important to remember that the first connection the audience makes with an actor is visual – what they see. And if what they see is boring, you’re off to a rocky start.
How do we solve this?
Use exercises that take the voice out of the equation so beginners can practice using their body to communicate character. For example: Entrances and
exits. Create an entrance and exit that is singular to your character’s personality. Those watching should know what character you’re playing simply by how you move. Put as much effort into the physical nature of your character as you do learning your lines. Actors should create a pose, a walk, and a significant gesture for every role.
Afa m bu @emeka_mcpherson
I am a #methodactor
ELLEN BURSTYN -. My new favourite person. Known for roles such as requiem for a dream and the exorcist. Lee Strasberg was the first to spot her at the actors studio. Now living in Manhattan as a healthy and still working 85 year old method actor. - listen to her podcast on Spotify death sex and money or interviews on the tub. She’s been through it all and boy is she inspiring. She urges as all to ‘forgive’