"I think also the freedom to be able to offer an actor an emotion. It’s such a faux pas in any other rehearsal process. You know if somebody says cry here - how dare they! What if I can’t do that? My character doesn’t want to. But here it’s like just go to 3B - Okay done did it. And it makes sense."
"There’s more trust, there’s a cleaner ability to enter an emotion. There’s a heightened listening which helps bring you into an emotion. And yeah it just felt like it was repeatable but it wasn’t script or rigid or prescribed, which is a little interesting dichotomy."
" Once I had an understanding and a grasp of the range of the mix, because what we talked about is that it can’t be exactly the same all the time - it lives in a kind of range. And if I know what that range is of the mix, because we spent so much time working on specifics and finding out how specific levels can be, once I’ve identified those ranges, I know in my body what that feels like and I can come back to that time and time again"
" I think it will help to deconstruct this myth that art is pain and to be a good actor you have to somehow become the character, and I think that’s detrimental to the mental health of artists "
HISTORY OF ALBA AND THE BOS EMOTIONAL EFFECTOR PATTERNS
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