Within You, Without You: Honest Pursuit of Realistic Acting Techniques

Paul Fischer

Acting

7.7.2015

Within You, Without You: Honest Pursuit of Realistic Acting Techniques

The aspects of acting necessary to creating a realistic performance are critical to effective communication and life. This can be seen in two primary components of an acting career. These are internal belief and external technique. By taking a subjective approach the actor’s viewpoint is used to direct the consciousness into a “real instrument” that can be used in the real world. Dissection of the methodology will be performed by evaluation of honesty and cognitive dissonance in acting.

Cognitive dissonance is a psychological term which at the time of the reading was relatively newly explored by modern psychological scientific experiments. By proving that once a person lied, it became a new reality for them. With time, repeating the innocuous mistruth would indeed prove to be the subject’s reality. It would be curious to see this repeated with modern, cheap, and readily available lie detectors, though some level of accuracy must be assumed from the statistical analysis of volunteer responses. This helps provide a demonstration of the proof: “separate acting from reality, therefore, is to diminish both.”

Yet more is necessary in the construction of such a proof. The glue that holds the pairing of reality and communication together is the function of the audience. The “apparently artificial presence of an audience” is described as perplexing for the paradoxes presented. This demonstrates the importance of honesty in the player; failure to create such a performance strikes them as deceptive. The definition which is critical here is that “interaction-for-an-audience we can simply call a performance.”

By integration of the facets described of acting a certain recipe is prepared in the reading: “success is achieved through study, struggle, preparation, infinite trial and error, training, discipline, experience and work.” The instrument which described acting earlier now manifests itself in acting power, described as an ultimate instrument of communication. While there are no consequences explicitly described for failure to adhere to integration of acting principles, the incentive to realize a characters role for actor and for audience can be described as a grail of sorts.

This works in conjunction with the psychological and scientific basis of what is asserted in the discourse. While the methodology is in necessity of replication with modern scientific means, the logical basis of the theses asserted have been shown to be reproducible and effective in both stage and film when used. For this work to be confounded would require an exceptional redefinition of both success and represent a drastic critique of academic integrity in the decades past. Replicating the research with modern science, however, will doubtless provide a unique and positive fine tuning of results which have already been acquired. What was available and dealt with here represents ability to change trends in audience and personal reaction; imagine being able to manipulate the amplitude of these trends.

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