(1) It’s not enough to say, “I’m in my car with my friends having a good time on the way to a hot party.”  Spontaneity in acting does not come from leaving things up to chance but rather from carefully planning and rehearsing a specific circumstance through detailed actions and then by trusting and letting go.  The necessary spontaneity will come from having recreated a life-like situation and responding to it. (2) One does not act in a vacuum.  Actors need a situation, a specific structure, to support spontaneous life.  Things that we take for granted in life have to be carefully reinvented and brought to life in front of the camera or on stage.

A situation/circumstance includes:

1-Specific characters in all details.(Character expressed in action)

2-A specific place including date, season, day, time, objects, colors…

3-A specific relationship between the characters

4-A specific conflict between characters or against them expressed in what they want from each other or what they are after(their intentions, desires, wants, needs…etc..)

5-A specific activity/doing character(s) is/are involved with.

Supplying these elements will form a foundation on which to establish organic behavior.  Behavior is most organic when it is most true to life’s mechanics.  A careful study and observation of life’s multitude of interactions will provide ample material.  Observing what people do not do is equally important if not more important than what they do do.  When a man is drunk he’s trying to walk and talk straight. He’s not trying to walk and talk like a drunk.  Unfortunately, you see many actors who play bad drunks by trying to be drunk instead of understanding the actual behavior pattern and organic response to a powerful substance such as alcohol.

About Actors_Studio_Hollywood

Eric Stone also known as artist Philippe Benichou first studied privately in New York with Herbert Berghof, Uta Hagen, Lee Strasberg, Stella Adler, William Hickey, Tony Allen, Austin Pendleton & Bob Mc Andrew from the Wynn Handman Studio. Eric is well versed in most major acting techniques and ideas of the 20th Century including the Meisner and Russian actor and director Michael Checkhov Techniques. Michael Checkov was famous playwright Anton Checkov's cousin. Eric Stone was made an Honorary member of the famed New York Actors Studio in 1981 and was accepted as a student in Uta Hagen's highly acclaimed scene study class that same year. In addition, Mr. Stone was privileged to work with Judith Unland in New York. Ms. Unland had been a private student of Michael Checkhov. "Michael Checkhov's breakthrough work in freeing the actor has greatly influenced me and still continues to amaze me." Eric Stone Eric Stone first began teaching in 1983 and has contributed to the growth and success of many actors and performers including some well known stars in the US and abroad. As his acting, directorial and coaching skills began to represent a potent body of distinctions, Eric realized it was time to make his discoveries and love of acting more public. He founded the Eric Stone Studio in 1989 in Los Angeles and Santa Barbara and began touring with weekend workshops around the country. An ongoing program was designed via classes, privates, intensive workshops and seminars. His sheer passion for artistic expression and his relentless pursuit of freeing the actor led Eric to establish a permanent actor's studio. A safe, clean, non-gaming, healthy, creative and empowering "arena" for people to hone, discover and challenge their spirits to more desirable heights of experience. This approach is focused entirely on training the individual artist not delivering a general system to a group or mass. It is the strength, success and competitive edge of this training. By aiming straight at the individual, it becomes easier to understand the actor's specific needs, talents and possible problem areas.
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