The Job of the Actor oe J.D. Salinger once said, “You were a reader before you ere a writer.” By the same token, all actors started out ws audience members. What were the first things that ruck us about the theatre? What are the things that raw us to the theatre again and again? What creates those moments that every audience member has had of ‘Stting up in his chair because something bas struck him in the gut? These moments are under no one person's contro: their creation is shared in equally by audience, setor director, and technielar. Realizing this, the actor faust understand that itis not rational to say, “Ttis my Wob to create these magical moments.” Instead, he Should realize that all he can do is bring himself to the theatre in optimum conditior to participate in the play at hand, Identifying what things he can do to pat him- self in optimum condition and then doing them consis tently so that they become habitual to him will give the factor the satisfaction of always knowing what to do, what his job truly is. The actor will ind, however, that while his job may4 A Pract CAL. HANDBOOK POR THE Acro be clearly identifiable, it will not be easy, For example, tobe in optimum condition to doa play, the actor must have astrong, clear, resonant voice. But developing this {ype of voice takes most people Many years of training, of applying the will to working daily on effective vou! exercises. The actor knows he must develop a body that will do whatever is asked of it, but this agaie requires the discipline to exercise as well as the study of move ment so that the body will become as strong, supple, and gracefulas the physical constraints within whieh he. was born (about which he ean do nothing) will allo The actor must look ath mestly, which requires @ great. deal of bravery, and use his common sense to determine what his own shortcomings are, Then he ‘must determine which of these shortcomings it is within his control to change. G himself to doing everything things within his control; hem to the fullest possible extont that person he would ide ally-tke fo be. Then when he comes to the theatre, he ccan have the satisfaction of saying to himself, “T know exactly what my job is, Thave done everything in my Power to be ready to go onstage.” This will free him to bemore completely involved with the play as it unfolds onstage, because he will not be worrying about what he could have done to be more prepared The best thing you can do for yourself as an actor is to clearly define and list those things t esponsibilities and separate them from thore things that are not. In other words, itemize what is within Your control and what is not. If you apply this rather Stoie philosophy of working on only those things within Siven this, he must devote he can to correct those ust use his will t become hat are your rie jou oF THE ACTOR 5 rel with thoxe rot and not conceming you . ngs th oment you spend will tis hat ae hen ever meen 5 send al ity not at oe me ever To devel) Ine such 8 yor ae, yu" ait) 6 gue sorg corect our ay to concentrate your body? On the ate band how ca pom fips congern youself withthe views olers choose re ofthe play, fake of you the overall sucess orf fcr, which ers ae iting inthe adlence, your height, your feelings, and so forth? You c: nat ad neve il be able t do sth so ny of hese things Consuela seme devote our sae those things which you have Selene fnd energy on these things you ean Pera vont Tae xs ata, comely otf our control, Whatever font ight e, you vther fave to you don, Wy wae eneray worfng "The only talent you ed to acs alent f Sorkin oie words teat THY your nearing the el a ae phe at of Sg, sent anyone who may he wants to but docs’ have he knack for sles from a lack of wil, nota lack of rather major pat ofthe actor's jb sto away ginary cireurnstances of tole truthfully under the imaginary éieumstance of the play. Ths the ator mist be abe to decide what it going on in the text in simple, ectable terms. Ifthe6 A Practical, HANDROox ron THE Acron ives himself something physically doable that he has a personal investment in for every scene, he will always have something more important to put his attention on than the success or failure of his own performance. Again, the actor must use his common sense to identify what is and is not within his control. Your feelings are | Ot within your control, so itis not within the bounds | of common sense to say “T must feel this certain way” for any particular moment of the scene. Instead, you ‘must be able to say, “This is what Tam doing in the | scene, and T will doit irrespective of how it makes me Cfeet" You must understand that acting, lke carpentry, is a craft witha definite set of kills an tools. By assiduously applying your will to the acquiring oF those skills and tools, you will eventually make them habitual. Once your skills become habitual, you need no longer con. Ccentrate on your technique; the eraft you have devel. ped will work for you and allow you to operate freely within its bounds, For example, if you have worked tong and hard on your voice, then you are fre to put your attention on what is going on in the scene rather ‘then on being heard, Tf this sounds like an avefl lot, i i. Acting requires ‘common sense, bravery, and alot of will: the common sense to translate whatever you are given into simple actable terms; the bravery to throw yourself into the action of the play despite fear of failure, seconscious ness, and a thousand other obstacles; and the will to adhere to your ideals, even though it might not be the easiest thing to do, In our world it is becoming harder and harder to ipl by such values. Seeing an indivic Ceny capacity within themelves, That iron wil the ; id the actions to which they drive him. ye zat aa in almost every area of our weber people ean go to hear the trath