Thursday, November 13, 2008




that damned talent question

A student will study with me for a few months, and then work up the nerve to ask if they "have what it takes." I categoricaily refuse to answer this question. First of all, there are countless stories of major actors who were told repeatedly that they were no good. And since I don't have a working crystal ball, I refrain from commenting.

This story talks about a new study that suggests that it is practice, not talent, that makes for success. It asserts that it takes about 10,000 hours of practice to achieve true expertise at something. So now I have a new response if I want one: "Check with me after another 9,900 hours of practice."

Most singing teachers will tell you that there are actually very few people who cannot learn, with some work, to sing. Most of us have the capability. How much readiness, willingness, and dogged determination we bring to the challenge is another matter. And that's how I feel about acting. Does everyone bring different levels of readiness to meet the challenges of vulnerability and spontaneity that acting calls for? Sure. But then the question becomes: what will they DO with whatever they have been given.

Make no mistake. Acting is VERY challenging. I think that is one of the things that pretty much everyone who darkens my door comes to grasp. It's the ones who decide, for whatever reason, to soldier on in the face of that grasped difficulty, that grow, sometimes quickly, sometimes slowly.

Aesop wasn't kidding about that slow and steady stuff.

It may take 10,000 hours to get to be a jedi knight. But as another wise man once said, the journey of 10,000 miles begins with a single step.

Wednesday, November 12, 2008




A Tale of Intertwined Misery

(This post is from the blog of the Mother of Invention Acting School in Los Angeles and San Francisco (www.utteracting.com): an acting class in Los Angeles San Francisco for serious, motivated students.)

I just listened to this podcast from NPR's Planet Money on one strand of the financial crisis, which involves high schools in Kenosha, Wisconsin, German banks in Ireland, and a whole lot of other hapless people and institutions. The intertwinings of destinies are at the core of all plays and movies, but few have this particular yarn's remarkable epic sweep. It also does a great job of illuminating how the global financial crisis is, literally, all around us.

Tuesday, November 04, 2008




the Hawthorne effect

I was looking at The Economist online, because I like the cover for this week's issue so much, and I happened upon an article that I thought bears pretty interestingly on a lot of things we talk about in class. Basically, experiments were conducted in which changes of various kinds were made in the environment of one group of workers, and not in that of another. The results were kind of surprising:

The experimenters concluded that it was not the changes in physical conditions that were affecting the workers’ productivity. Rather, it was the fact that someone was actually concerned about their workplace, and the opportunities this gave them to discuss changes before they took place.


The man who conducted the experiment, who went on to teach industrial research at Harvard, said it this way:

The desire to stand well with one’s fellows, the so-called human instinct of association, easily outweighs the merely individual interest and the logic of reasoning upon which so many spurious principles of management are based.


"The desire to stand well with one's fellows", i.e. respect. In all of the scene work we do in the class, we see how the desire for respect is a core need for all of us, and how even while working towards long term goals as a characters, we always have one eye on the quantum of respect that can be won or lost at each moment.

Monday, November 03, 2008




Tomorrow -- Change.

That he which hath no stomach to this fight,
Let him depart; his passport shall be made,
And crowns for convoy put into his purse;
We would not die in that man's company
That fears his fellowship to die with us.
This day is call'd the feast of Crispian.
He that outlives this day, and comes safe home,
Will stand a tip-toe when this day is nam'd,
And rouse him at the name of Crispian.
He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say 'To-morrow is Saint Crispian.'
Then will he strip his sleeve and show his scars,
And say 'These wounds I had on Crispian's day.'
Old men forget; yet all shall be forgot,
But he'll remember, with advantages,
What feats he did that day. Then shall our names,
Familiar in his mouth as household words-
Harry the King, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester-
Be in their flowing cups freshly rememb'red.
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remembered-
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition;
And gentlemen in England now-a-bed
Shall think themselves accurs'd they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.

Henry V, William Shakespeare

Hat tip to fivethirtyeight.com

Tuesday, October 28, 2008




thinking about friendship

Friendship is one of the basic kinds of relationships we deal with in scene work in the class. I listened to this podcast last night with leading philosopher Alexander Nehamas, in which he talks about friendship and its importance.


Nehamas on Friendship

Give it a listen.

 
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