Filed by Bil at 10:22 pm under Religion, Shameless Plugs, The Arts

Danger: the following post is probably really, really boring. The only people who ever seem to care when an actor talks about acting are other actors…and I suspect they aren’t really interested at all, they’re just acting.

Ahem.

Being that I’m rehearsing a silent melodrama right now, I find myself being much more aware of the way I move in my everyday life, especially at work, where my physical body is the closest thing for my mind to drift to (and drift it must, or else the dullness and high stress of work will kill me). So, lately, when I close a case at work, I do so with a distinct click of the mouse and my head held high with pride that one more disaster has been averted.

Yes. My day job has disaster potential.

Recently, while talking with my wife about other things that could be considered disasters, I was reminded of something I learned in college but had sort of forgotten about for a long time: center. It sounds like one of those pretentious actor things, but it’s actually really useful. (For actors.)

There are a zillion things to think about when preparing a role, and Dream Theatre is big on the ground gesture - one gesture, position, or movement naturally suited to the character that sort of catalyzes actions and words within the script. What I’d been forgetting is the center: from what part of my body does the character’s energy come? Where’s the center of balance? For example, I know an actor who usually acts from his chin, which makes for very interestingly inward-pointed motivations. I know another who acts from his pelvis, which can either make for a great pompous egomaniac or else a schlumpy, pathetic sack of shit – both very fun to watch on stage.

Many actors usually act from the same place from role to role, simply because they haven’t been made aware of it, and it doesn’t really hinder a performance. However, once aware, an actor can consciously move that center to somewhere else on their body in order to move differently if it fits the character better.

So now that I’ve got this in my brain, along with the idea of the ground gesture, I’m going to charge forward with as much interesting movement as I can get away with. I’m going to try out different centers. My default, as pointed out by Devon, is from the middle of my chest – leading with my heart, if you will (goddamn, what tripe). I may try leading with my shoulders, or with my nose. Probably not my pelvis, though. I can already see that not working.

Dammit. I’m all psyched up for rehearsal now, and I’m off for the next six days.

One more thing: I kiss not one, but two super-hot chicks on stage in this piece. (New record for me, ka-ching!) In the context of a movement-based performance, this presents an extra-special challenge. What is the most interesting way to kiss someone?

Oh well, I guess I’ll move onto the shameless plugs now.

SHAMELESS PLUGS:

The Black Duckling
Opens Oct. 15 at Dream Theatre.

Hatemail
Mixing, mastering, composing, & beautifying currently underway.
More recording sessions in the near future…actors who want to participate, stay alert!

A rough sample to whet the appetite:
Dear Anonymous Celebrity Who Might Sue