Larry Silverberg is the author of True Acting Tips. We have compiled a list of five of his acting tips for your enjoyment.
1. One of the biggest obstacles on your path towards True Acting will be old habits. Very often, these will be “actor habits” meaning, they are things you do only when you are acting and they are usually related to not trusting that what you are doing is “big” enough and if that you do not make it “bigger” the audience will not get it. They may be subtle, but these old habits always use up vital energy that you need to act with and they produce results exactly opposite to what you are intending – they have the result of pushing the audience, and their true interest, away! Hopefully, you will be guided by a teacher that first, has the ability to recognize these habits and then, is willing to tell you. Of course, once you are made aware of your old habits, you will have to work relentlessly to shed them, as they will resist your efforts with all their might. The good news is, when you have released yourself from their grip, your work will not only become simpler (the mark of all great artists) and more direct, you will also have much more fun!”
2. “When you work on a scene for class, you will only get a true sense of the material when you find your “way in” to the first moment. Of course you must answer the question, “Where is the character coming from?” This is related to both the literal story of the script and, more importantly, the emotional space the character is in due to the circumstances of what has “just happened” or what he has “just found out”.
As you start to climb your way in to this emotional space personally, intimately, you will begin to sink below the intellectual explanations of why the character is doing the things he is doing and you will make the first connections to where this need resides in you. Here you will discover what may have seemed casual is actually urgent, vital and the stakes are high! As the pressure of these emotional realities begin to intensify in your insides, they will ultimately erupt into a surprising and unexpected wave of life itself.”
“When we look into our own hearts and begin to discover what is confused and what is brilliant, what is bitter and what is sweet, it isn’t just ourselves that we’re discovering. We’re discovering the universe.”
When you understand the unquenchable and specific need which leads you to say “yes” to “this” and “no” to “that”, then you will gain insights on how to grapple with the intimate and personal needs of the characters you play. Do it first in your life, then bring the wisdom gained to your acting. The payoff will be huge.”
“The fixed idea that we have about ourselves as solid and separate from each other is painfully limiting. It is possible to move through the drama of our lives without believing so earnestly in the character that we play. That we take ourselves so seriously, that we are so absurdly important in our own minds, is a problem for us. We feel justified in being annoyed with everything. We feel justified in denigrating ourselves or in feeling that we are more clever than other people. Self-importance hurts us, limiting us to the narrow world of our likes and dislikes. We end up bored to death with ourselves and our world. We end up never satisfied. We have two alternatives: either we question our beliefs—or we don’t. Either we accept our fixed versions of reality, or we begin to challenge them.”
Reading this book, actors will find the joy of true communion with their acting partners and, through this encounter, give the audience an uplifting experience by reminding them that we are all, in fact, human beings.