Yoshi Oida, a Japanese actor who has also worked a lot in the West, gives
his view and suggestions about how to become a good actor. The approach is
greatly influenced by Eastern culture, and is based more on developing the
feelings of presence and flow than intellectually analyzing and deconstructing
the actions. Many ideas in the book are useful and interesting not only for
actors, but also to the wider audience.
More information at Amazon: http://www.amazon.com/dp/0413696103/
A review in New York Theatre Wire: http://nytheatre-wire.com/MC99111T.htm
Some notes (for myself): Working in a dedicated
place, ritually / meditatively cleaned room, prepared body, special clothing.
Awareness of how body postures and movements affect inner / emotional state.
Awareness of all room directions in all dimensions, and different orientations
of the body. Awareness of how a different ordering of movements changes the
feeling. Imagining being constantly in front of the audience, but still
behaving naturally. Concentrating on the little finger. Understanding the
acting through body, not mind. The flow of movements directed by what feels
natural, not what should be done next. Imagining the distances longer, things
heavier, but not explicitly demonstrating it like mimes. Contrast / balance of
powerful vs. peaceful activity (inner vs. outer, upper body vs. lower body).
Repetition leading to change. Creating emotions through appropriate posture /
movement, not through imagination. Free and sensitive body leads to flexible
thinking and richer emotional life. Acted boringness must not be boring to
watch (in theatre). Breathing exercises with imagination (feet, etc.), sound
(directional, aaa, ooo, mmm, eee, iii). The sound of words and text (in
addition to meaning). Constant perfection is tiring to the audience, alternate
with easier / usual / non-emphasized parts.
