the warner loughlin technique an acting revolution

When you do these things, you are not acting. You’ll think about how a line is going to sound when you say it, or what you look like doing an action. And you’ll find it makes you completely self-conscious. I call it third-eyeing a performance, meaning you’re actually trying to watch your own work as you do it. You will let go of the need to nail an emotion rid yourself of superficially executing beats and actions drop the reliance on super objectives, objectives and intentions and forget the constant checking of your work to see if you are hitting moments in the way that you want to. With it, you’ll find the joy and freedom to be the character in the moment, and you’ll discover the limitless possibilities in creating a character as only you can. This technique teaches you to effortlessly access and actually experience the specific and unique emotions of the character. Characters that are beautifully unique to you and only you. You must learn to be a self-sufficient actor able to create characters in your own right. Your class should be about YOU, not the teacher. If your teacher’s ego is bigger than the state of Texas … good Lord, leave. How many teachers have insisted that you must have been wronged by your parents, siblings, best friends, or lovers? How many have asked you to expose yourself emotionally and physically – with an inane exercise that sacrificed your privacy – for all your classmates to see? How many of them initially made you feel like you could conquer the world, only later to make you feel undeserving, idiotic and talentless! Ego is the great killer of creativity. Does that make him an actor? I think not. I can tell you that it’s more than possible for me to walk out onto the street right now, grab a passing stranger, spend a few minutes with him and make him cry. How many classes have you taken in which the primary goal of the teacher was to make you cry? Chances are it was also suggested that if you couldn’t achieve hysterics, you were somehow not quite as talented as the next actor. This misconception is taught and even encouraged in a great percentage of acting classes around the world. Where is it written that in order to be a gifted actor, you must be filled with rage or pain or strife? Who says you must be brooding and difficult that as an actor you must view the world differently than everyone else? I can tell you that ideas like these have been written or implied in far too many acting books. ~ WILLIAM BRADFIELD MYTH OF THE TORTURED ACTOR Who in turn, touches another, reaching out to ends further than they would ever know. There are those whose lives affect all others around them.

The warner loughlin technique an acting revolution