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indicatingSubmitted by John David Lutjen on Mon, 2007-02-26 23:06.
Since Andy has been waiting for me to Christen (sp) this forum, here we go. The topic of indicating as come up several times in the Saturday class. God knows that it is one of my acting weaknesses. How do you know when what you think you are doing is natural and it is seen as indicating. Andy recently reminded that in my last show I indicated "alot." Granted some of the time I realized that I was but other times for the character I thought it was natural to the character. How do others see indicating. One of my classmates as indicated (ha, ha) that it would appear to be in the mind of the beholder since they are interpreting what they are seeing but may not know what is going on in the actor's mind at the time. I also raise the point that there are natural responses that I have seen called acting that I see people use in everyday situations. Obviously, indicating takes the viewer out of the story on occassion but again is therer any set rules to follow to reduce the amount of indication. Okay fellow ATS's let's hear from you. John Lutjen ( categories: Problems and Breakthroughs )
Thanks, Anna -- that's right on the money and I really admire your understanding of the issue. Indication is a real trust issue -- a self trust issue and EVERY ACTOR has dealt with it at some time or other. Working in Bill Howey's class with you last summer, I got nailed for indication in my own work -- I remember thinking, "Oh, DAMN!" But I knew it was the case AS I was doing it. The "Valley of Indication" comment reminded me of a story I've told in class a few times (I have like, four basic stories...) where I was told by one of my acting teachers that I needed to bring my feelings more to the surface in my work. I mentioned that I was afraid of indicating if I did that and my professor told me that indication might be good for my work for awhile! That set a lightbulb off over my head that our work is on a journey -- we may feel like we get it for awhile, but then the next challenge comes along. The idea that something we DON'T want to do, like indicate, could long-term benefit the work is one of those contradictions that makes this craft so exciting for me. Thanks for putting this out there, John. I just want to publicly say that your work on a week-in, week-out basis has come tremendously far. It's really rare when I see you indicate in class. Taking what you have learned in class into auditions, then performance are the next two steps -- and not easy, but I've already seen you do it in performance in California Suite. Anyone else have a take on this? Andy |
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Hi John,
I read your post on indication with interest because that is something that I believe most actors have struggled with to some degree or other during the development of their acting process. I remember that used to be my biggest fear -- indication! And I said as much to my acting coach at some point. His response to me was, "Sometimes you HAVE to go through the valley of indication to get to the other side." And here's my understanding of his comment. When we're not committed to taking a choice all the way, and risk it being completely wrong, how we come across and what the audience sees is a tentative effort. That tentative effort is an indication of what we kinda wanted to do. I finally realized that I would have to put myself out there 100% if I wanted to tell a compelling story and engage my audience fully. And that meant risk failing, risk being wrong, and even risk looking silly/stupid. Now does that mean I succeed every time? No. But I'm succeeding more frequently and that's what's important. You have to embrace risk when you're on the stage because if you don't, you choose comfort, and when you choose comfort, it's indication and most of the time it's boring. John, my advise is that when you make an acting choice, make a risky choice. In other words, make a choice you wouldn't ordinarily make -- the complete opposite of a choice you usually make. Make a choice that's uncomfortable. Make it "bloody!" Take care, John.